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THE   CHILD-VOICE 
IN   SINGING 


TKKAllil)    IROM 


A  PHYSIOLOGICAL  AN'I^  A  LKACTICAL  STAXDi'OINT 

AND  KSTKCIALLV  ADAl'll'.l)    1  O  SCHOOLS 

AN'D  BOV  CHOIRS 


FRANCIS  E.  HOWARD 

BUrKKVI-iiK    Hi'    Ml'^lC    IN     TIIK    I'l T.l.IC     S(|lil<>l.>    AND    CHOIR. 

MAsri.R  OK  sr.  John's  am>   ikinity  cmKciiKS, 
i;kii)UE1'i)Kt,  conn. 


.\7:i!'  .i.\7>  AV-;/'/.s7-.7>  i-:nr!io\ 


M;W  YORK  ;    Illl-:  II.  W.  GRAY  CO. 

Si  '11     \(;i  NTS  Ic  ii; 

N(  )\'l-;i,I.()  \  CO..   Ltd..    l.omlon 

Made  in  llir   Uiiitrd  Slatti  uf  America 


\^:\\\ 


Copyright,  1895 
By  F.  E.  HOWARD 


Copyright,  1898 
By  NOVELLO,  EWER  &  CO. 


Copyright  rbnewed,  1923 


PREFACE  TO  THE  SECOND  EDITION. 


/^^NE  of  tlie  most  encouraging  signs  of  the 
^-^  growth  of  musical  taste  and  understanding 
at  tiie  present  time  as  regards  the  singing  of 
children,  is  the  almost  unanimous  acquiescence  of 
choirmasters,  supervisors,  teachers,  and  others  in 
the  idea  that  children  should  sing  softly,  and 
avoid  loud  and  harsh  tones ;  and  the  author  vent- 
ures to  hope  that  the  first  edition  of  this  book 
has  helped,  in  a  measure  at  least,  to  bring  about 
this  state  of  opinion. 

Jt  is  true  that  for  a  long  time  the  art  of  train- 
ing chiKli'cn's  voices  has  been  well  understood  by 
choirnuisters  of  vested  choirs,  and  by  many  others, 
but  its  basis  was  purely  emjurical. 

Something  more,  howe\er,  than  the  dictum  of 
individual  taste  and  judgment  is  needed  to  con- 
vince the  educators  of  our  schools  of  the  wisdom 


4       PREFACE  TO   THE  SECOND  EDITION. 

of  any  departure  from  established  customs  and 
practices.  Tlie  primary  end,  then,  of  tlie  author 
has  been  to  show  a  scientific  basis  for  the  use  of 
what  is  hei'ein  called  the  head-voice  of  the  child, 
and  to  adduce,  from  a  study  of  the  anatomy  and 
physioloijy  of  the  larynx  and  vocal  organs,  safe 
principles  for  the  guidance  of  those  who  teach 
children  to  sing. 

The  conditions  under  which  music  is  taught  in 
schools  call  for  an  appeal  to  the  understanding 
first,  and  taste  afterward.     These  conditions  are  : 

First,  the  actual  teaching  of  music  is  done  by 
class-room  or  grade  teachers.  The  special  teacher, 
who  usually  supervises  also,  visits  each  room,  it 
may  be  as  often  as  once  a  week,  but  in  most 
towns  and  cities  not  oftener  than  once  in  three  or 
four  weeks.  At  any  rate  the  class  form  their 
ideals  and  liabits  from  the  daily  lessons,  which 
are  given  by  their  grade  teacher. 

Second,  these  teachers  in  the  great  majority 
of  cases  acquii-e  tlieir  knowledge  of  music  thi'ough 
teaching  it,  and  nmst  also,  it  can  easily  be  under- 
stood, devolo])  a  sense  of  discrimination  in  musical 
mattei's   in   the  same   way.     There   is   a    sti'ong 


PRE  FACE  TO   THE  SECOND  EDITION.        5 

!iatiir;il  tendency  in  the  sclu>ol-i-ooiiift  to  emphasize 
the  tcacJi'nvj  of  nnisie,  or  tc^achiii^  about  music, 
as  contrasted  witii  actual  sin<j;in<^.  The  impor- 
tance of  using  the  voice;  projierly  will  not  suggest 
itself  to  many  teachers. 

Jt  is  necessary,  then,  that  this,  which  is  the 
essence  of  all  instruction  in  vocal  music,  .-hould 
he  brought  to  the  attention  of  tlie  vast  army  of 
instructors  in  our  public  schools  in  as  convincing 
a  wav  as  is  possil»le.  Now  the  best,  aiul  in  fact 
the  only  way  to  secure  the  assent  of  our  educators 
to  a  new  idea  in  school  wik,  is  to  prove  its  tiuth. 
'•  It  is  useless  to  dispute  aI)out  tastes,""  and  so  the 
k>.-s  said  al)out  harsh  tone  to  a  teacher  accus- 
tomcil  to  heai'  it  daily,  and  to  like  it,  the  better; 
l)ut  ])rove  to  this  teacher  that  the  liarsh  tone  is 
phvsically  hurtful  to  the  child,  and  that  for 
piiysi<»logical  reasons  tlie  voice  should  be  used 
softly  and  gently,  and  you  have  w(»n  a  convert, 
one,  too,  who  will  <pnckly  recognizt;  tlm  u'sthetic 
phase  of  the  change  in  voice  use.  The  author 
knows  fi-om  observation  aiul  experience  that 
cliildi-en  in  the  pid)lic  sch<K)ls  can.  undei'  exi.-ting 
conditions,   be  taught  ^ood   habits  of   voice   \\^<i. 


6       PREFACE  TO  THE  SECOND  EDITION. 

There  arc  wonderful  possibilities  of  musical  de- 
velopment, in  the  study  of  music  in  schools,  and 
the  active  interest  of  every  musician  and  music 
lover  should  be  exercised  to  the  end  that  its  stand- 
ard may  be  kept  high. 


PREFACB. 


TT  will  be  generally  admitted  by  those  who 
are  able  to  judge,  that  the  singing  of  chil- 
dren is  more  often  disagreeable  than  j)leasant, 
and  yet  the  charm  of  childhood  and  the  effect 
of  custom  are  so  potent  that  many  who  are 
keenly  alive  to  any  deficiency  in  the  adult 
singer,  listen  with  tolerance,  and  it  would  seem 
with  a  degree  of  pleasure  even,  to  the  harsh 
tones  of  children. 

This  tolerance  of  rough,  strident  siTiging  by 
children  is  as  strange  as  the  singing.  It  cannot 
be  ri;;ht  for  children  to  sinf;  with  the  coarse, 
harsh  tone  that  is  so  common,  and  it  is  not 
right,  although  there  is  a  prevalent  idea  that 
such  singing  is  natural,  that  is,  unavoidable. 

This  idea  is  false.  The  child  singing-voice  is 
not  rougli  and  harsh  unless  it  is  misused.  The 
truth  of  this  statement  can  be  e^isily  demon- 
strated. If  it  were  not  true  it  would  Ix;  ditH- 
cnlt  to  ju.-^tify  the  teaching  of  vocal  nni>ic  is 
7 


8  PREFACE. 

schools,  or  tlio  einploynient  of  bov  sopranos  in 
church  clioirs. 

It  seems  to  the  antlior  tliat  tlie  chief  diffi- 
culty experienced  by  teachers  and  instructors  of 
singing,  in  dealing  with  children,  lies  in  the  as- 
sumption, expressed  or  implied,  that  their  voices 
are  to  be  treated  as  we  treat  the  voices  of 
adults — adult  women ;  but  the  vocal  organs  of 
the  child  differ  widely  from  those  of  the  adult 
in  structure,  strength  and  general  character.  As 
a  consequence,  there  is  a  marked  dilference  in 
voice. 

Vocal  music  has  l)een  very  generally  inti'o- 
duced  into  the  schools  of  our  country  during  the 
past  few  years,  and  there  is  evidently  a  very 
general  and  earnest  desire  that  children  be 
taught  to  sing.  It  is  also  the  wish  of  those  who 
are  teachers  to  do  their  work  well. 

While  there  are  many  books  to  aid  educators 
upon  every  other  sul)ject  taught  in  ])ubli(' 
schools,  tiie  literature  on  tlie  voice,  particularly 
the  siuiriuir- voice,  is  meaure,  and  it  is  believed 
that  some  direct,  j)ractical  J/ints  on  this  topic 
may  be  welcome. 


PREFACE.  9 

The  f()lL>\\iii<;  j)aj^es  are  tlic  result  of  several 
vears'  experience  in  teaching,  and  of  careful 
study  of  cliiklren's  voices.  The  author  lias  at- 
tem})te(l  to  describe  the  physiological  character- 
istics of  the  child-voice  and  to  give  some  practi- 
<'al  hints  regarding  its  management.  It  is  sin- 
cci-i'ly  hoped  that  what  is  herein  written  may  he 
uscfnl  and  helpful  to  those  engaged  in  teaching 
children  to  sing, 

FllANCIS   E.   now  AMD, 

J3ridgej)ort,  Couu. 
Deeendjer,  1S95 


PAQC 


CONTENTS. 

Pkkfack  to  the  Skcond  Edition '<i 

I'RKFACK, 7 

CHAPTER  I. 

PnYPIOLOOV  OF  THK   YoK  K, 13 

CIIAl'TKU   II. 

IlECilSTERS   OF   TIIK    VoRK, 25 

CHAPTER   III. 
How  TO  Srcuuk  Good  Tonk,      ....  44 

ch.\pti;r  IV. 

Compass  of  thk  Ciiii.d-Voice,  ....         72 

CHAI'TER   V. 
Position,  Bukatiiing,  Attack,  ToNE-FoiiMATioN,  .     81 

CHAPTER   VI. 
Vowels,  Consonants,  Aktrii,ation,     ...        95 


12  CONTENTS. 


CHAPTER  VIL 

PAGE 

Mutation  op  the  Voice, 112 


CHAPTER  VIIL 
TuE  Alto  Voice  in  Male  Choirs,     ...         125 

CHAPTER  IX. 
General  Remarks,    •...<.  138 


CHAPTER  T. 

rHYSI()I.<)(;V    OK    THK    VOICE. 

TN  former  times  tlie  culture  of  tlie  siuging- 
voice  was  ciiuducted  u{)ou  purely  empirical 
irrouuds.  Teachers  followed  a  few  good  rules 
wliicli  had  heeti  logically  evolvi'd  from  the  ex- 
pt-rieuce  of  many  schools  of  singing. 

We  nre  indehted  to  modem  science,  aided  by 
the  laryngoscope,  for  many  facts  concerning  the 
action  of  the  larynx,  and  more  especially  the 
vocal  coi'd.--  in  tone-pi'oduction.  While  tlu'  eai'ly 
discoNcries  rcgai'iiing  the  mechanism  of  the  voice 
were  hoj)et"ully  helieved  to  have  solved  all  ))rol)- 
lems  concerning  its  culti\ation,  experience  has 
shown  the  futility  of  attempting  to  formulate  a 
set  of  rules  for  voice-culture  hased  alone  upon 
the  incomplete  data  fui-nished  hy  the  laryn- 
goscope. This  in.-trument  isasmall,  round  mir- 
ror which  i>  introduced  into  the  throat  at  such 
an  angle,  that  if  horizontal  rays  of  li^ht  are 
thrown  upi'ii  it,  the  larynx,  which  lies  directiv 
heiU'ath,  is  illuminatecl  and  retlected  in  tlu'  mii-- 


14  CHILD-VOICE  IN  SINGING. 

ror  at  the  back  of  the  moutli — tlie  laryngoscope. 
Very  many  singers  and  teachers,  of  whom 
Manuel  Garcia  was  the  first,  have  made  use  of 
this  instrument  to  observe  the  action  of  their 
vocal  bands  in  the  act  of  singing,  and  the  results 
of  these  observations  are  of  the  greatest  value. 
Still,  as  before  said,  the  laryngoscope  does  not 
reveal  all  the  secrets  of  voice-production.  While 
it  tells  unerringly  of  any  departure  from  the 
normal,  or  of  pathological  change  in  the  larynx, 
it  does  not  tell  whether  the  larynx  belongs  to 
the  greatest  living  singer  or  to  one  absolutely 
unendowed  with  the  power  of  song.  Also,  the  sub- 
ject of  vocal  registers  is  as  vexing  to-day  as  ever. 

While,  then,  we  may  confidently  expect  further 
and  more  complete  elucidation  of  tlie  physiology 
of  the  voice,  there  is  yet  sufficient  data  to  guide 
us  safely  in  vocal  training,  if  we  neglect  not  the 
empirical  rules  which  the  accumulated  experi- 
ence of  tlie  past  has  established. 

The  organ  by  which  the  singing-voice  is  pro- 
duced is  the  larynx.  It  forms  the  upper  ex- 
tremity of  the  windpii)e,  whicli  again  is  the  up- 
per    portion    and    beginning    of    the    bronchial 


CniLD-VOICE  JN  SiyaiNG.  15 

tubes,  wliicli,  oxtCTulinof  downward,  hrancli  oil 
from  its  lowor  part  to  eitlier  side  of  the  chest 
and  coiitiinially  subdivide  until  they  become 
like  little  twii;s,  around  which  cluster  the  con- 
t^tituent  })arts  of  the  luniks,  which  form  tlie  bel- 
lows for  the  supply  of  air  necessary  to  the  per- 
formance of  vocal  functions.  Above,  the 
larynx  opens  into  the  throat  and  the  cavities  of 
the  pharynx,  mouth,  nose,  and  its  accessory 
cavities,  wliich  constitute  the  resonator  for  vocal 
vibrations  set  uj)  within  the  larynx. 

The  larynx  itsolf  consists  of  a  framework  of 
cartilai:;es  joined  by  elastic  membranes  oi'  liu'a- 
ments,  and  joints.  These  cartilaiii'S  move  free- 
ly toward  and  ui)on  each  otlier  by  means  of  at- 
taclied  muscles.  .Vlso  tlie  larynx  as  a  whoK' 
can  be  moved  in  various  diri'ctions  by  means  ol 
extrinsic  muscles  joined  ttj  points  above  and  be- 
low. 

I'lie  vocal  bands  are  two  lii:;aments  or  folds  of 
mucous  mcniluMne  attached  in  front  to    the   lai'- 
U'c-t  cartilage  of  the   larynx,  calied    tlie   tli\i'oid, 
and  which  foi'ins  in  man  the  piMtuberance    com 
monly    called    Adam's    apple;     and,    extending 


16  CHILD-VOICE  IN  SINGINO. 

horizontally  backward,  are  inserted  posteriorly 
into  the  aryteniod  cartilages, tlie  right  vocal  band 
into  the  right  arytenoid  cartilage  and  the  left 
band  into  the  left  cartilage.  These  arytenoid 
cartilages,  by  means  of  an  articnlation  or  joint, 
move  freely  npon  the  cricoid,  the  second  large 
cartilage  of  the  larynx,  forming  its  base,  and 
sometimes  called  the  ring  cartilage,  from  its  re- 
semblance in  shape  to  a  seal  ring.  The  vocal 
bands  are  composed  of  numberless  elastic  fibres 
running  in  part  parallel  to  each  other,  and  in 
])art  interwoven  in  various  directions  with  each 
other.  The  fibres  also  vary  in  length;  somt; 
are  inserted  into  the  extending  projections, 
called  processes  of  the  arytenoid  cartilages,  and 
some  extend  further  back  and  are  inserted  into 
the  body  of  the  cartilages.  The  vocal  bands, 
then,  lie  opposite  each  other,  on  a  level,  raised  a 
little  in  front,  and  with  a  nuiTow  slit  between, 
called  t]iii  glottis. 

The  nniscles  controlling  the  actiDii  of  the  vo- 
cal bands,  and  which  regulate  the  nicchanisni 
])rodncing  sound,  are  of  three  gi'onps,  viz.,  ab- 
dnctoi's  (drawing-apart  nniscles),  adductors  (draw- 
ing-together muscles),  and  tensijrs. 


CHILD-VOICE  IN  SiyOiyO.  IT 

Tlie  ahductors  act  to  keej)  the  bands  apart 
duriiiiij  i-t'.-piratioii,  while  the  I'linction  of  the  a<l- 
duetur.>  and  tensors  is  to  bring  the  bands  into  po- 
.-ition  for  s})eech  or  singing.  They  are,  since 
jilionation  is  at  will,  voluntary  nniscles;  luit  it 
is  an  interesting  fact  that  the  laryngeal  nnisck\> 
of  either  side  invarialily  act  together.  It  has  been 
shown  that  it  is  not  possible  to  move  one  vocal 
Cord  without  the  other  at  the  same  time  exe- 
cuting the  same  movement.  It  is  thus  shown 
that  the  laryngeal  muscles  are,  to  a  less  extent, 
under  the  control  of  the  will  than  are  those  »>f 
cither  hand  or  eye.  The  rational  traiiung  of  the 
ringing- voice  cannot,  therefore,  proceed  upcdi 
any  theory  based  npon  the  voluntary  traininu-  of 
the  muscles  controlling  the  movements  of  the 
vocal  cords. 

The  mucous  nuMubrane  which  lines  tlie  larynx 
is  libt'iMlly  >up})lied  with  secreting  gland,-,  whose 
function  i>  to  keep  the  j)arts  iMoi>t.  Abo\e 
tin;  \  ociil  bands,  anotlu'r  pair  of  mtMnbranou> 
ligamenl.-  ai'c  stretched  across  tin'  lar\n\  form- 
ing, w  itii  its  ,-idt's  and  t!ie  vocal  i)aiids,  a  pouch 
or  pocket.       The  upper  ligaments  are   ^ometimes 


18  CHILD-VOICE  IN  SINGING, 

called  the  false  vocal  cords,  but  are  more  proj> 
erlj  termed  ventricular  bands.  Their  function 
has  occasioned  much  speculation,  but  whatever 
modification  of  tone  they  may  be  supposed  to 
produce,  they  no  doubt  protect  the  true  vocal 
bands  and  permit  their  free  vibration.  The 
larynx,  in  the  j^roduction  of  sound,  may  be  com- 
pared to  an  organ-pipe.  The  two  vocal  cords 
which  act  simultaneously  and  are  anatomically 
alike,  when  set  in  viljration  by  the  blast  of  air 
coming  from  the  lungs,  correspond  to  the  ree<l 
of  the  organ-pipe;  the  vibration  of  the  cords, 
producing  sound,  which  is  communicated  to  tlie 
air  enclosed  in  tlie  cavities  of  the  chest  and 
head.  Pitch  of  tone  is  determined  by  the  ra- 
pidity of  vibrations  of  the  bands,  according  to 
acoustical  law,  and  the  length,  size,  and  tension 
of  the  cords  will  determine  the  number  of  vibra- 
tions per  second,  •?'.  e.,  their  rapidity. 

Strength  or   loudness   of  tone  is    determined 
primarily  by  the  width  or  amplitude  of    the  vi- 
brations of  the  vocal  membrane,    and  quality   or 
timbre  is  determined  by  the  form  of  the   vibra 
tion. 


CHILD-VOICE  IX  SINGING.  19 

The  infinitely  varyinj^  luiatonnciil  (liver<;cncics 
in  the  form  and  structure  of  tlie  iiabul,  phai-yn- 
geal  and  throat  cavities,  and  possibly  the  com- 
position of  the  vocal  l>ands,modifie8,  in  number- 
less ways,  the  character  of  tone  in  s{>eech  or 
soni:;.  It  is  a  fascinatini;-  topic,  hut  nnist  he  (Us- 
niissed  here  with  the  remark  that,  as  those  ana- 
tomical ditl'erences  in  structui'e  are  far  less  marked 
in  cliildren  than  in  adults,  their  voices  are,  in 
consc(pience,  more  alike  in  quality  and  strenicth. 
It  takes  loui;-,  patient  trainini;;  to  hlend  adult 
Voices,  hut  children's  voices,  when  prt>[»erly 
uscmI.  ai"e  lionio^ciieous  in  tone. 

Tlie  Voices  of  hoys  and  i;irls,  ])rior  to  the  au'c 
of  puberty,  ai'e  alike.  The  growth  of  the  larysix. 
wliich  in  each  is  (piite  I'apid  up  to  the  age  oi 
six  yeai's,  then,  according  to  all  authoi'ities  with 
which  tlie  wi'iter  is  con\"ersant,  ceases,  and  tlie 
V(.)cal  iiands  neither  lengthen  nor  thielven,  to 
any  ajipreciahle  extent,  before  the  time  of 
change  of  voice,  which  occurs  at  the  age  of  j 'li- 
berty. 

It  is  pcai-cely  ]io?>ible,  however,  t!ia^  the 
larynx  literally  reinain.s  i(/ic/iaji<jc</  liirough  the 


20  OHILU-VOIGE  TN  SINGING. 

period  of  the  child's  h'fe,  extending  from  the 
age  of  six  to  fourteen  or  fifteen  years.  In  point 
of  fact,  authorities  upon  the  subject  refer  only 
to  the  lack  of  growth  and  development  in  size 
of  the  larynx  during  the  period  ;  but  un- 
do uhtedhj^  duriiuj  these  years,  there  is  a  cons- 
tant gaining  of  Jirmness  and  strength^  in  hoth 
the  cartdages  and  their  connecting  mendyranes 
and  muscles.  Xone  of  the  books  written  upon 
the  voice  have  even  mentioned  this  most 
important  fact.  It  bears  with  great  signif- 
icance upo!i  qnostic^ns  relating  to  the  capac- 
ities of  the  child's  voice  at  different  ages, 
and  explains  that  phenomenon  called  the  "  niov- 
al)le  break,"  which  has  j)uzzled  so  man^MU  their 
investigations  of  the  registers  of  the  child's 
voice.  The  constant,  tliuugh  of  course  ex- 
tremely slow,  hardening  of  the  cartilaginous 
portions  of  the  larynx,  and  the  steady  increase 
in  the  sti'cngtli  of  its  muscles  and  ligaments  is 
not  in  the  least  iiiconsisteiit  with  the  j)i'eviouslv 
noted  fact,  that  tlie  vocal  bands  during  this 
time  increase  to  no  appreciable  extent  in 
length;    for,    it    may    ])e     observed,    aftei-    the 


CHILD  VOICE  IN  SL\ah\G.  21 

t'lijviige  of  voice,  wliicli  ofti'ii  occurs  with  i^rcat 
rapidity,  and  diii-iii^  wliicli  tlic  vocal  hands  in- 
crease' to  (hiiihle  tlicir  previous  len<;th  in  males, 
that,  thdiii^li  tlie  pitch  of  tlie  voice,  owiiit;  to 
increased  K-nt^th  of  the  han<ls,  sudtU-nly  h)\vers, 
vet  not  until  full  maturity  is  reached,  do  tlie 
lai-vuueal  cartilai::es  attain  that  I'iiridity,  or  the 
vocal  hands  that  ready  elasticity  I'ssential  to 
the  production  of  \n\V(.\  lesouant  voice.  Vet, 
during  these  years,  while  the  voice  is  developiuir, 
the  vocal  hands  I'cmain  unchan<j:ed  in  A  //y///. 
l']ven  in  those  ca.--es  where  the  \-oice  changes 
slowlv  in  conse(pience  of  the  slow  ijrowth  in 
len::th  and  thickness  of  the  \'ocal  coi-ds,  it  takes 
.-evei'al  ycai'>.  after  laryni^fal  develoj)ment  has 
ceased,  for  the  voice  to  attain  its  full  si/,e  and 
re.-oiiance. 

I'"urt]ici"mor(>,  th(^  continual  increase  in 
,-ti'eiiirth  and  tirmness  of  the  lai'ynx  from  six 
\cars  ouward  to  juiliei-ty.  is  coii.-i.-tent  with  the 
c  )n>tant  i:i"o\\th  in  >treiiuth  and  iii'nmess  of  tis- 
sue charaeteri/.ini:-  the  entii-e  hody.  It  is  ai;-ain 
proN'eii  liy  the  eontiiiu.d  iMi|iro\ement  in  the 
power  ami  timhre  ot   the  tone  throU!;'h  thi>  peri- 


23  CHILD-VOICE  IN  SINGING. 

0(1,  always  premising,  be  it  understood,  that  the 
voice  is  used  projjcrly,  and  never  forced  beyond 
its  natural  capabilities.  The  voice,  at  the  age 
of  eleven  or  twelve,  is  far  stronger,  and  is 
capable  of  more  sustained  elfort  than  at  the  age 
of  six  or  seven  years,  and,  for  the  year  or  two 
preceding  the  break  of  voice,  the  brilliance  and 
power  of  boys'  voices,  especially  in  the  higher 
tones,  is  often  phenomenal,  and  in  all  cases  is 
far  snjierior  to  that  of  previous  years. 

The  resemblance  between  the  voices  of  boys 
and  girls,  a  resemblance  which  amounts  to  iden- 
tity, save  that  the  voices  of  boys  are  stronger 
and  more  brilliant  in  quality,  disap2)ears  at 
puberty. 

Among  the  ])hysical  changes  which  occur  at 
this  period  is  a  marked  growth  of  the  larynx, 
sutlicient  to  alter  entirely  the  pitch  and  charac- 
ter of  the  boy's  voice.  As  a  female  larynx  is 
alfected  to  a  lesser  extent,  the  voices  of  girls 
undergo  little  change  in  })itc]i,  l)ut  become 
eventually  nioi'e  powertui,  and  richer  in  tone. 

This  break  of  the  voice,  as  it  iscalled, occurs  ;it 
about  the  age  of  iiftewn  years  in    this    climate, 


•        CHILD-VOICE  L\  SlMJiya.  2l\ 

but  often  a  year  or  two  earlier,  and  not  infre- 
(juently  a  year  or  two  later.  The  iri'<'Wtli  of  the 
larynx  ijoes  o?i,  with  greater  or  less  ra[)i(lity, 
\ai-yini;  in  dilTermt  individuals,  for  from  six 
months  to  two  or  three  years,  until  it  attains 
its  tinal  size.  In  hoys,  the  larynx  douhles  in 
size,  and  the  vocal  hands  increase  in  the  [)r(^])(»r- 
tion  of  live  to  ten  in  length.  This  great 
gain  in  the  length  of  the  vocal  coivls  is  due  to 
the  lateral  development  t)f  the  larynx,  for  the 
male  larynx,  in  its  entirety,  increases  more  in 
depth  tlian  in  height.  The  residt  is  a  dro{)  of 
an  octave  in  the  average  hoy's  voice,  the  longer 
hau<ls  producing  lower  tones.  The  change  in 
size  in  the  ft'male  lai'vnx  is  in  the  proj)ortion  of 
tive  to  seven,  and  the  increase  is  in  height  in- 
.^tead  of  deptli  or  width  as  in  the  male  larynx. 
'J'he  Vocal  cords  of  women  are,  therefore, 
shorter,  thiimer  and  narrower  than  are  tliose  of 
men. 

The  reason  assigneil  (i>v  tlie  peculiar  antics  of 
tiie  hoy's  voice,  diii'iiig  thi-  l)i'cak,  is  une(|ual 
I'apidity  in  the  gmwtli  and  dcNclopmcut  of  the 
L-artilai,fes  and  of  the  muscles  of  the  larvnx.    The 


24  JHILD-VOICE  IN  SINGING.     » 

muscles  develop  more  slowly  than  do  the  car- 
tilag-es,  and  so  abnormal  physical  conditions  pro- 
duce abnormal  results  in  phonation. 

No  further  changes  occur  in  the  laryngeal 
structure  until  middle  life,  when  ossification  of 
the  cartilages  connneuces.  The  thyroid  is  first 
affected,  then  the  cricoid,  and  the  arytenoids 
much  later. 

The  consecpient  rigidity  of  the  larynx  occa- 
sions diminished  compass  of  the  singing-voice, 
the  notes  of  the  upper  register  being  the  first  to 
disappear.  In  some  few  cases  of  arrested  de- 
velopment, the  voice  of  the  man  retains  the 
soprano  compass  of  the  boy  tiu'ough  life. 


CHAPTER  II. 

KKCJKSTKKS    OK    THK    VOICK. 

IT  may  be  obstTvi'd,  in  listeiiiiitj:;  to  an  ascend. 
in<;  sei'ies  of  tones  suni^  by  an  untrained  or 
l>y  a  badly-trained  a(bdt  voice,  that  at  certain 
pitches  tiie  tone-(jnality  under<i;oes  a  radical 
chani^e ;  while  a  well-trained  singer  will  sinij 
the  same  series  of  tones  without  showing  any 
appi'eciable  break  or  cliange  in  tone-(|uality,  al- 
though the  highest  note  will  [)rcs('nt  a  niai-ked 
Contrast  in  timbre  to  the  lowest.  Tht;  brt'aks 
or  changes  in  register  so  noticeable  in  the  un- 
ti-ained  voice  are  covered  or  e(|nalized  in  the 
\<>ici'  trained  by  correct  methods.  These  breaks 
in  both  male  and  female  voices  occur  at  certain 
pitches  wlicrt'  the  tone-j)i'oducing  mechanism  of 
the  larynx  changes  action,  and  bi'ings  the  vocal 
band>  into  a  new  vibi'atory  foiMii.  '•  .\  register 
consi>t>  of  a  series  of  tones  j)roduce(l  bv  the 
same  mechanism."- — Kmil  i!ehid<e  in  '"  \'oice. 
Song,  and  Speech."  (i.  Kdwai'd  Stubbs,  in 
connnenting  ujion  the  aboNc  detinition,  says; 
2.? 


26  CHILD-VOICE  IN  SINGING. 

"By  meclianism  is  meant  tlie  action  of  the 
larynx  which  produces  different  sets  of  mhra- 
t'tons,  and  by  register  is  meant  the  range  of  voice 
confined  to  a  given  set  of  vibrations.  In  pass- 
ing the  voice  from  one  register  to  anotlier,  tlie 
larynx  changes  its  mechanism  and  calls  into  play 
a  diiierent  form  of  vibration." 

The  number  of  vocal  registers,  or  vibratory 
forms,  which  the  vocal  bands  assume,  is  still  a 
matter  of  dispute,  and  their  nomenclature  is 
equally  unsettled.  The  old  Italian  singing- 
masters  gave  names  to  parts  of  the  vocal  compass 
corresponding  to  the  real  or  imaginaiy  bodily 
sensations  experienced  in  singing  them;  as 
chest-voice,  throat-voice,  head-voice.  ]\[adame 
Seller,  in  "The  Voice  in  Singing, ''  gives  as 
the  result  of  original  investigations  with  the 
laryngoscope  five  different  actions  of  the 
vocal  bands  which  she  classifies  as  "first  and 
second  series  of  the  chest-register,"  "  first  and 
second  series  of  the  falsetto  register"  and 
"head-register."  Ih'owjie  and  I'ehnke,  in 
"Voice,  Song,  and  Speech,"  divide  the  male 
voice  into  three  registers,    and   the  female   into 


CHILD-VOICE  IN  SINGIXG.  27 

five.  They  are  termed  "lower  tliick,"  "  upper 
tliick,"  "lower  thin,"  "upper  thin"  and 
*•  small."  Other  writers  speak  of  three  regis- 
ters, "chest,"  "medium"  and  "head,"  and 
still  others  of  two  only,  viz.,  the  chest  and  the 
head. 

Modern  research  lias  sliown  what  was  after  all 
understood  Ijcfore,  that,  if  the  vil)ratory  form 
assumed  l)v  the  vocal  bands  for  the  natural  pro- 
duction of  a  certain  set  of  tones  is  pushed  Ity 
muscular  exertion  above  the  point  where  it 
should  cease,  intlamniation  and  weakening 
of  the  v(X?al  organs  will  result,  while  voice-de- 
terioration is  sure  to  follow.  A  physiological 
basis  has  reinforced  the  empirical  deductions  of 
the  old  Italian  school.  In  dealing  with  chil- 
dren's voices,  it  is  necessary  to  recognize  only  two 
registers,  the  tliick,  or  chest-register,  and  the 
thin,  or  liead-register.  Further  subdivisions 
will  only  complicate  the  subject  without  assist- 
ing in  the  practical  management  of  their  voices. 
Tones  sung  in  the  thick  or  chest-i-egister  are 
ju'oduced  l)y  the  full,  free  vibration  of  the  vocal 
bands  in  their  entire  lemcth,  breadth  and  thick- 


38  CHILD-VOICE   IN   SINGING, 

ness.     Tlie  tones  of  the  thin  or  head-refr^ster  re 
suit  from  the  vibration  of  the  vocal  bands  along 
tlieir  inner  edges  alone. 

We  may  then  conclude  from  the  foregoinc; 
that  children  nj)  to  the  age  of  puberty ,  at  least 
in  class  or  chorus  singing,  should  use  the  thin  or 
head-register  only. 

1st.  It  is  from  a  physiological  standpoint  en- 
tirely safe.  The  use  of  this  register  will  not 
strain  or  overwork  the  delicate  vocal  organs  of 
childhood. 

2d.  Its  tones  are  musical,  pure  and  sweet, 
and  their  use  promotes  the  growth  of  nnisieal 
sensibility  and  an  appreciation  of  beauty  in  tone. 

3d.  The  use  of  the  thick  or  chest-voice  in 
class-sinii:ing  is  dangerous.  It  is  wellnigh  im- 
possible to  confine  it  within  ])roper  limits. 

It  is  unnecessary  to  discuss  the  second  point. 
Anyone  who  has  noted  the  contrast  between  th(; 
harsh  quality  of  tone  emitted  from  childish 
throats  when  using  the  chest-voice,  and  the 
pure,  flute-like  sound  ])roduced  when  the  head- 
tones  are  sung  will  agree  that  the  last  is  music 
and  the  first  noise.  <>r  at  any  rate  very  noisy, 
barbaric  music. 


CUILD-VOICE  IN  SIXOINO.  SU 

The  tliird  jK>int,  if  true,  estiiblishes  tlie  first, 
fur,  if  the  chest -voice  cjuiiiot  he  safely  used,  it 
follows  that  cliildrcu  must  use  the  head-rci^istcr 
or  stop  sinking.  It  must  he  said,  hefore  pro- 
ceediu*^  further,  thiit  it  is  not  denied  that  the 
thick  voice  can  he  use<l  hy  children  without  in- 
jury, if  ])roj)crly  manau'cd  ;  that  is,  if  the  sing- 
iiii;  he  not  too  loud,  and  if  it  he  not  carried  too 
hii^h.  It  is  also  fully  i-ccon-nized,  tliat,  wluiu 
theoretically  the  head-voice  alone  is  used,  it  yet, 
wlien  carried  to  the  lower  tones,  insensihly 
hlends  into  the  thick  iv<j;ister;  hut  if  this  e(|ual- 
ization  of  re^istei's  is  oI)tained  so  comj)letely 
tliat  no  perceptihle  dilfei'ence  in  (piality  of  voice 
can  hi'  ohserved.  why  then  the  whole  com[)ass  is 
j)ractically  the  thin  oi-  head-ri'i;ister, 

A'ow,  can  the  tliick  voice  l)e  used  in  school- 
sin^ini;-.  and  coniiiKnl  to  the  lower  notes?  And 
is  it  fairly  easy  to  secure  soft  and  j)Ui'e  vocaliza- 
tions in  tliis  i'eiii>tery  Let  the  i'\j)erience  of 
thousands  of  teachei's  in  the  piil)lic  schools  of 
this  and  otiiei-  lands  answer  rhe  last  i[Ue>tion. 

It  Would  he  as  ea>y  to  stop  the  ii'i-owth  of  the 
awran'c  lii>y  with  a  word,  oi-  to  pei'suade  a  crowd 


80  CHILD-VOICE  IN  SINGING. 

of  youngsters  to  s])eak  softly  at  a  game  of  base- 
ball, as  to  induce  them,  or  girls  either  for  that 
matter,  to  use  the  voice  gently,  when  singing 
witli  that  register  in  which  it  is  possible  to  push 
the  tone  and  shout. 

There  should  be  some  good  physiological 
reason  for  the  habitual  recourse  to  the  strident 
chest-voice  so  common  with  boys,  and  nearly  as 
usual  with  mrls.  And  there  is  a  i»:ood  reason. 
It  is  laek  of  I'igidity  in  the  voice-box  or  larynx.. 
Its  cartilages  harden  slowly,  and  even  just  be- 
fore the  age  of  })uberty  the  larynx  fidls  far 
short  of  the  lirmness  and  rigidity  of  structure, 
that  characterize  the  organ  in  adult  life.  It  it 
physically  very  ditficnlt  for  the  adult  to  torce 
the  chest-voice  beyond  its  natural  limits,  which 
become  iixed  when  full  maturity  of  bodily 
devek)pment  is  reached,  but  the  child,  whose 
laryngeal  cartilages  are  far  moi'o  flexible, 
and  move  toward  and  njxjn  each  other  with 
greater  fi'cedom,  can  force  the  chest  -  voice 
up  with  great  ease.  The  altitude  of  piteli 
which  is  attained  l)eforc  breaking  into  the  thin 
register  is  with  young  children  regulated  by  the 


cm  LI)-  I  -OlUE  IN  SINOIXG.  31 

amount  of  inusculiir  exertion  tliey  put  forth, 
Even  ii|)  to  tlie  ehtuiije  of  voice,  hoys  can  often 
fdrce  the  tliick  reijister  several  notes  higlier  than 
Women  sopranos. 

It  must  he  horne  in  mind  that  the  tliick  voice 
is  produced  hy  the  full,  free  vihrations  of  the 
vocal  hands  in  their  entire  length,  hreadth  and 
thickness. 

Imagine  children  six  years  of  age  carrying 
tones  foi'med  in  this  manner  to  the  extreme 
limit  of  their  voice ;  yet  they  do  it.  The  tone 
of  infant  classes  in  Sunday-schools,  and  the 
tone  of  the  primary  schools,  as  they  sing  their 
morning  liynins  or  songs  for  recreation,  is  j)i'o- 
duce(|  in  nine  hundi'cd  and  lunety-nine  cases 
out  of  a  thousand  in  exactly  the  way  si't  forth. 
If  tlic  vocal  hands  of  children  wei'e  less  elastic, 
if  they  wci'e  coin])osed  of  stronger  tihi'cs.  and 
protected  from  undue  exertion  hy  lirm  connect- 
ing cartilage;  in  short,  if  clnldren  were  not  chil- 
dren, such  forcing  would  not  he  |)os>il)le.  If  it 
were  not  for  the  wondei-fui  recuperative  power 
of  cliildiiood,  sei'ious  eifects  would  follow  such 
Vocal  hahits. 


32 


CHILD-VOICE  IN  SINGING. 


We  are  now  ])re])ared  to  inulcrstand  tliat 
common  phenomenon  of  the  cliild-voice,  termed 
the  "movable  break.'"  Every  j)nblic  school 
teacher  who  has  had  experience  in  teaching 
singing  must  be  familiar  with  the  meaning  of  the 
term,  thongh  possibly  unaware  of  it.  Allusion 
has  already  been  made  to  the  fact  that,  in  pri- 
mary grades,  the  thick  quality,  if  ])ermitted, 
will  be  carried  as  high  as  the   children  sing,  to 


^9-^ 


for  example.  If  they  are  required  to  sing  the 
the  higher  tones  lightly,  then  the  three  or  four 
tones,  just  l)elow  the  pitch  indicated,  will  be  sung 
in  a  thin  quality  of  voice.  The  place  of  the 
break  or  the  absence  of  any  break  at  all  will  de- 
pend upon  the  degrei;  of  loudness  ])ermitted. 

Pass  now  to  a  grade  in  which  the  pupils  aver- 
age eleven  yi'ars  of  ago.  These  can  use  the 
thick  tones  as  hii2;h  as 


oidy  with  great  cxci-tion,  and,  if  rcMpiircd  to  sing 
•softly,  will  ])ass  into  the  thin  register  at  a  lowiT 


CHILD-VOICE  IN  SINGING. 


3:' 


j)itcli  tliaii  tlu'  primary  chiss.  Now,  go  to  a  room 

wliere  tlio  childKen  raii<;e  in  aij^o  from   thirteen 

to  iiftceii   years.      Tlie  irirLs  will  still  use   thick 
tout's  up  to 


The  pitcli  at  which  the  hreak  occurs  will  vary 
in  individual  cases  accordinic  ti>  physique  or  am- 
bition to  siui:;  well;  hut  the  l>oys  (excludiiii; 
those  whose  voices  have  begun  to  hreak)  will 
niainfest  the  utni(»st  repugnance  to  singing  the 
higher  notes.  '*  ( "an't  sing  liigh  ' '  will  he  the 
reply  when  ynu  ask  them  why  they  do  not  sing. 
And  they  are  corri'ct.  They  cannot,  not  with 
till'  thick  voice.  I']ven  when  [Mitting  hd'th  con- 
,-i(U'i'ahle  exertion,  they  will  pass  to  the  thin 
\oice  at 


and  lowei'.  if  they  siu^^-  softlv.  'i'his  phenomenon. 
then,  i>  t  lu'  "  iiio\  alije  l)reak  " '  of  the  child -voice. 
The  jiitcii  at  which  the  chiid-Noice  |)asses  iVotn 
the  thick  to  the  thin  voice  depend.^  tir>t  upon 
the  age;  >econd.    u])on    the    auiouin  of   physical 


34  CHILD-VOICE  IN  SINGING. 

energy  employed,    and  third,   njwn  the   bodily 
vigor  of  the  child. 

It  may  also  ])e  added  that  ])oys'  voices  break 
lower  than  girls'  during  the  year  or  two  pre- 
ceding change  of  voice.  When,  now,  it  is  re- 
membered that  the  adult  female  voice  leaves  the 
chest- register  at 


it  will  be  admitted  by  everyone  who  has  had 
actual  experience  in  class  singing  in  schools 
or  elsewhere,  that  the  facts  set  forth  in  refer- 
ence to  the  al)ility  of  the  child  to  carry  the 
thick  voice  from  one  to  eight  tones  higher 
tluin  the  adult,  has  a  very  important  bearing  on 
the  subject  of  training  childi-en's  voices. 

But,  is  it  physically  injui-ions?  It  may  l)o 
said  that,  as  regards  upward  forcing  of  the  v<_)cal 
register,  authorities  u])on  the  adult  voice  are 
anited.  Leo  Kofier,  in  "  The  Art  of  IJrcjtith- 
ing,"  p.  lf)S,  says:  "1  liave  met  female 
rrel)les  that  used  tliis  means  of  forcing  up  the 
cliest-tones  as  high  as  middle  A,  1>,  (\  and  (one 
caniiardly  conceive  of  the  physical  ])ossibibty  of  so 


CHILD-VOICE  IN  SIi\OL\G.  nr, 

doiTiLr)  even  as  far  as  I)  and  E  flat.  The  reason 
wliv  this  j)racticc'  is  so  (laiii^croiis  lies  in  the  nn- 
natui'al  wav  in  wliicli  the  larynx  is  liehl  down  in 
tlic  throat,  and  in  tlie  force  tliat  is  exercised  l>y 
the  tension  mnsck's  of  the  vocal  liixaments  and  tin; 
hard  pressnre  of  the  muscles  of  the  tontjue- 
Ixtne.  .  .  I  have  examined  with  the  larynii;osco})e 
many  ladies  who  had  tliehal)it  of  sini:;in<;  the  chest- 
tones  too  In'ah,  and.  without  exception,  I  have 
found  their  throats  in  a  more  or  less  diseased  con- 
dition. Laryngitis,  eithi'r  alone  or  complicated 
with  pliarynii-itis,  relaxation  of  the  vocal  litra- 
ments,  an<l  .-omctimes  paralysis  of  one  of  them, 
are  the  most  frcfpient  results  of  this  had  hahit. 
If  a  sinp'r  i>  atllicted  with  catarrhal  troulde,  it 
is  always  auiri'avated  by  this  ahominahle  method 
of  >ini:inir. " 

Mmma  Seller,  in  ''The  \'oice  in  Siiijjfini;.' 
]i.  T)},  after  dex-i'iltiiiiT  the  action  of  the  vocal 
li^-anuMit.-  in  the  pi-o(luetioii  of  the  chest-voice 
and  allndiiit:'  to  the  fact  that  .>ucli  action  can  he 
contimie(j  .-cscimI  t(tiies  liii:-hei'  than  tiie  pi'oj)er 
ti-an>itioii,il  point.  ::des  on:  "  Ihit  such  tones, 
e>peciall\'  in  the  teniale  voice,  lia\  e    that    roun'h 


36  CHILD-VOICE  IN  SINGING. 

and  common  timbre,  wliieli  we  are  too  often 
compelled  to  hear  in  our  female  singers.  The 
glottis  also  in  this  case,  as  well  as  ])arts  of  the 
larynx  near  the  glottis,  betrays  the  effort  very 
plainly;  as  the  tones  ascend,  they  grow  more 
and  more  red.  T//i(s,  as  at  fJ(i.s  itJacc  in  the 
chest-7'egiste7\  tJicre  occurs  a  vislhleajul  sejisihle 
strainivg  of  the  organs,  so  (dso  is  it  in  all  the 
remaining  transitions,  as  soon  as  the  attempt  is 
made  to  extend  the  action  htj  irhidi  the  lower 
tones  are  formed  heyo)id  the  gicen  limits  of  the 
same.^''  And  again  :  "In  the  ignorance  exist- 
ino;  concernino:  the  natural  transitions  of  the  rei»:- 
isters,  and  in  the  unnatural  forcing  of  tlie  voice, 
is  found  a  chief  cause  of  the  decline  in  tlie  art 
of  singing,  and  the  present  inability  to  preserve 
the  voice  is  the  consequence  of  a  method  of 
teaching  unnatural,  and,  therefore,  imposing  too 
great  a  sti'ain  upon  the  voice."  (^)uotations  in- 
mimei'able  niiglit  l)e  made,  to  give  more  empha- 
sis, were  it  needed,  to  the  evils  of  register  for 
cing. 

The  f»nly  point  remaining  is  the  one  very    of- 
ten raised.      Is  it  not  natural  fir  child  rm  to  use 


CHILD- 1  VICE  IN  SINd  L\G.  37 

tlu'  cliest  or  thick  voice?  If  their  v(»ciil  organs 
are  so  Hexihle,  may  tliey  not  carry  such  tones 
higher  tlian  a(hilts,  and  youni^er  cliiUh'en  higher 
than   tliose  a  Httle  ohU'r,  and  so  on? 

It  is  (juite  ohvious.  for  reasons  lierein  set 
forth,  tiiat  chil(h"('ii  d(»  not  experience  the  same 
(k'gree  of  dithciihy  in  coiitiiuiiiig  the  nse  of  the 
tliick  Voice  to  their  liigher  tones  as  (h>  adnlts, 
hut  as  to  tile  etfcct  u|)oii  theii-  vocal  organs  there 
need  he  no  rea>nii,iMe  <h»iiht.  A.  B.  Baeli,  in 
•'  Priiici{)Ies  of  Singing,''  p.  142,  says:  "If 
children  arc  allowi'd  to  sing  their  higlier  notes 
forte,  hefore  the  voice  is  properly  e<pialized,  it 
will  hccoini'  hai'd.  harsh  and  hoarse,  and  tliey 
will  fail  in  coi-rect  intonation.  A  mistake  in 
this  dii-cction  not  <>nly  I'uins  the  middle  register 
hut  destroy.^  the  voice  altogether.  The  coiise- 
(pience  of  encouraging  foite  singing  is  to  change 
a  soprano  rapidly  to  an  alto;  and  they  will 
generally  sing  alto  eipudly  forte  hecause  their 
\-ocal  coi-ds  ha\e  lost  their  elasticity  thi'ough 
o\(.'i'>t raining     and     the    notes    will    no    longer 

answei-  to  piano The  fact   is  that 

reckle.-s  singing  often  hreaks  tender    voices   and 


38  CHILD-VOICE  IN  SINGING. 

breaks  tlicm  forever,"  It  may  be  observed 
that  the  writer  cited  evidently  accepts  the  same 
elassiiication  in  register  for  children  and  adult 
women's  voices,  but  this  does  not  make  the 
above  extract  any  less  applicable.  The  baneful 
effects  of  forcing  the  voice  is  clearly  set  forth. 
How  to  avoid  it  is  .mother  matter. 

Leo  Kotler,  in  the  work  previously  mentioned, 
p.  108,  refers  to  this  point  as  follows:  "  It  fre- 
quently happens  that  the  tones  of  the  lower 
range,  or  the  so-called  chest-tones,  are  forced 
up  too  high  into  the  middle  range.  This  Ixid 
habit  is  often  contracted  while  the  singers  are 
quite  young.  Boy  trebles  have  this  ha])it  to  an 
unendurable  degree,  usually  screaming  those 
horrible  chest-tones  uj)  to  middle  C.  Of  all 
bad  habits,  this  one  is  the  most  liable  to  injure  a 
voice  and  to  detract  from  artistic  singing." 

To  cite  Madame  Seller  once  more,  p.  17<): 
'*  AVhile  it  often  happens  that  at  the  most  criti- 
cal age  while  the  vocal  organs  are  being  de- 
velo})ed.  children  sing  with  all  the  strength  they 
can  command.  l><»ys,  however,  in  whom  the 
larynx  at  a  certain   period    undergoes  an    entire 


CHILD-VOICE  IN  SINGING.  M 

traiisforination,  reach  only  with  ditHcultj  the 
hi<;her  s<)})rano  or  contralto  tones,  hut  arc  not 
assigned  a  lower  j)art  until  perceiviniji;  them- 
selves the  inipossihility  (»t"  sin<;in^  in  this  way, 
they  he^  the  teacher  for  the  chaiii^e,  often  too 
late,  unha])))ily,  to  prevent  an  irreparahle  injury. 
Ar<)derate  sin<j:inij:;  without  exertion,  and  above 
all  things,  within  the  natural  limits  of  the  voi'.-e 
and  its  registers,  would  even  during  the  peri(Kl 
of  growth  be  as  little  hurtful  as  sj)eaking,  laugh- 
ing or  any  other  exercise  which  cannot  be  for- 
bidden to  the  vocal  oi'gans." 

Hrownc;  and  iJehnke,  who  separately  and  to- 
gether have  given  most  valuable  additions  t(t 
the  literature  of  the  voice,  in  a  small  book  en- 
titled "  The  Child- N^oice,''  have  collated  a  large 
numlxM'  of  answers  from  distinguished  sinii'ers, 
teachers  and  choii'-trainers  to  various  (piestions 
relating  to  the  subject.  I'he  following  citation 
is  fr(»m  this  intei'esting  work,  p.  ;!!•  :  ''  The 
nece>sity  of  limiting  tlu;  compass  of  childi'cn's 
voices  is  fr('(pu'ntly  insiste(l  uj)()n,  no  attention 
whatevci"  being  paiil  to  rtyJ-sfrr.s-'  and  yet  in- 
finitely  more   mischief   is   done   by    forcing   the 


40  CHILD-VOICE  IN  SINGING. 

registers  tlian  would  ])e  accomplished  by  allow- 
ing children  to  exceed  the  compass  generally  as- 
signed to  them,  always  provided  that  the  sing- 
ing be  the  result  of  using  the  mechanism  set 
a])art  by  nature  f?r  different  parts  of  the 
voice. ' ' 

There  can  really  be  no  doubt  that  the  use  of 
the  chest  or  thick  voice  upon  the  higher  tones  is 
injurious  to  a  child  of  six  years,  or  ten  years,  or 
of  any  other  age.  The  theory  that  in  the  child - 
voice  the  breaks  occur  at  higher  tixed  pitches  than 
in  the  adult  is  shown  to  be  untenable.  The  fact 
would  seem  to  be  that  comparisons  between  the 
registers  of  the  child  and  the  adult  voice  are  mis- 
leading, since  the  adult  voice  has  fixed  points  of 
change  in  the  vocal  mechanism,  which  can  be 
transcended  only  with  great  difficulty,  while  the 
child-voice  has  no  Jij'ed  jmi^ts  of  change  in  Its 
vocal  )€(ji'<ters.  This  point  must  not  be  over- 
looked. It  is  the  most  important  fact  connected 
with  the  child-voice  in  speech  or  song.  It  is  the 
fundamental  idea  of  this  work  and  is  the  basis  for 
whatever  snggestions  are  hci'cin  contained  upon 
the  management  of  the  child-voice.      The  i'i<rid- 


CHILD-VOICE  IN  SISGINQ. 


41 


ity  of  tlic  adult  larynx,  tlie  stri'iiirth  of  tlu- 
K'lisoi-  and  adductor  iiiusc-les  and  the  elastic  tiriii- 
ness  of  the  vocal  litrainents,  are  to  those  of  the 
child  as  the  solid  houy  framewoi-k  and  stron<xly 
set  muscles  of  maturity  are  to  the  imperfectly 
hardened  hones  and  soft  musck'S  of  childhood. 
Nature  makes  no  tixed  limits  of  the  \'ocal  reikis- 
ters  until  full  maturity  is  reached.  A  tix(Ml 
register  in  a  childish  throat  involviiii;  a  com- 
])leti'ly  de\i'loj)ed  larynx  would  hi'  a  startling'' 
anomaly.  The  laryni:;eal  nuiscles  of  cliildhoo<j 
are  not  stronji:.  They  are  weak.  Most  of  the 
talk  about  streni^^th  of  voice  in  children  is  utter 
nonsense.  AVhen  the  nuiscles  and  other  parts 
concei'iu'(l  in  toiu'-production  j)ei"form  their 
j>liy>iolo<ric;il  functions  in  a  healthy  manner, 
tliMt  is,  in  such  a  way  that  no  con<j:;estion,  or  iu- 
tlaiiim.irion  or  undue  weariness  will  result,  the 
>iii^iii:r-toiu'  >■>{  the  child  will  lU'Vt'i'  i)e  loud, 
lliu-li  or  low,  under  tlioe  couditions  it  must  ])ei-- 
{iWrr  he  sol't.  and  if  pi'opei"  directions  he  fol- 
loW((l  the  (piality  will  he  as  ^o(i(l  as  the  voice  is 
capahle    i>f. 

J*'\er\diic    who   has    ohserN'cij  has  also  noticed 


42  CHILD-VOICE  IN  SINGING. 

the  contrast  in  tlie  lower  tones  of  children 
and  women.  The  cliest-voice  of  the  woman, 
which  she  uses  in  sin»i:;ing  lier  lower  register, 
is  normally  very  beautiful  in  its  quality. 
Its  tones  are  the  product  of  a  perfectly 
developed,  full-grown  organ.  The  chest- 
voice of  the  child  is  an  abnormal  product  of  a 
weak,  growing,  undeveloped  organ.  It  pos- 
sesses, even  when  used  carefully,  little  of  the 
t(jne  tints  of  the  adult  V(jice.  The  chest-voice 
belongs  to  adult  life,  not  to  childhood.  The  so- 
called  chest-voice  of  children  is  only  embrj'onic. 
It  cannot  be  musical,  for  the  larynx  has  not 
reached  that  stage  of  growth  and  development 
where  it  can  produce  these  tones  musically.  The 
constant  use  of  this  hybrid  register  with  chil- 
dren is  injurious  in  many  ways.  Its  use  is  justi- 
fied in  schools  raei'ely  thi-ough  custom,  and  it  can 
not  be  doubted  that  as  soon  as  the  attention  of 
teaciiei's  is  called  to  its  evils,  they  will  no  longer 
tolerate  its  use. 

The  usual  analogies  then  which  are  drawn  be- 
tween the  adult  female  voiceand  the  child-voice, 
in  so  far  as  they  imply  a  sinn'lar  physiological  con- 


CHILD-VOICE  IN  SINGING.  13 

(litioii  of  tlie  vocal  origan  aiul  similar  vocal  train- 
ing, are  not  only  useless,  but  mislcadiui;.  He 
who  tries  to  train  the  average  child- voice  on  the 
theory  of  two,  three  or  five  clearly-defined 
breaks,  or  natural  changes  in  the  forms  for  vocal 
vibration  assumed  by  the  vocal  i)ands  will  get 
very  little  help  fi'om  nature. 

AVith  due  consideration  it  is  said  that  it  is  a 
harder  task  to  train  children's  voices  j)r(»j)erly 
than  to  ti'ain  the  voices  of  adults.  Where 
nature  is  so  shifty  in  her  ways,  it  recjuires  keen 
j)enetration  to  discover  her  ends. 

The  chihl -Voice  is  a  delicate  instrument.  It 
ought  not  to  be  played  upon  l)y  every  black- 
smith. 


CHAPTER  IlL 

HOW   TO    SECUKE    GOOD   TONE. 

'TT^IIE  practical  application  cf  the  tcacliiiiij:  oi 
the  two  prucuding  chapters  niav  at  tirst 
thoni;-ht  .seem  to  he  (liilicult.  On  the  contrary, 
it  is  (juite  easy.  We  have  favoral)le  conditions 
in  schools;  g-radetl  courses  in  music,  reii;ular  at 
tendance,  discipline,  and  women  and  men  in 
change  who  ai'e  accustomed  to  teach.  TSo  more 
favorahle  conditions  for  teaching  vocal  music 
exist  than  ;ire  to  he  found  in  a  welhorganized 
and  well-disciplined  school.  The  envir(^)nments 
of  hoth  ))upils  and  teachers  are  exactly  adapted 
41 


CHILD-VOICE  IN  SINGIAG.  i'> 

to  tlio  ready  ref'0])ti()ii  of  ideas,  on  tlie  one  liaiid. 
and  tlie  skilful  iiupartiiii;  of  tlieni,  on  the  other. 
The  abilities  of  tlii*  trained  teaeliers  of  to-day  are 
not  half  ai)i)reciate(|.  They  often  possess  ])ro- 
fessional  skill  of  the  liiijhest  ordi'r,  and  the 
su})ervisor  of  iinisic  in  the  pnblie  sehools  may 
count  himself  exceedingly  fortunate  in  the 
means  he  has  at  hand  for  carryini;  on  his  work. 
IViit  knowledua'  of  voice  is  no  more  evolved  from 
one's  inner  consciousness  than  is  kno\vledi]^e  of 
musical  notation,  or  of  the  (ii-cck  alphaht't ;  there- 
fore, if  rt'u-ulai'  teachers  iu  the  school  permit  siutr- 
ini:;  which  is  unmusical  and  hurtful,  it  is  chiefly 
because  they  are  followiiii:-  the  usual  customs,  and 
their  <'ars  havi-  thei'ehy  liecome  dulU'd,  or  it  may 
he  that  even  if  the  siiiLiino-  is  unpleasant  to 
them,  that  they  do  tiot  knoir  Iioir  to  make  it 
hetter.  .\s  hetoi'e  <ai(i,  all  ciieriries  have  so  far 
heeii  dii'ected  to  the  teachimj,'  of  music  rea<lin^. 
Tone  has  heeli  n''u-]ecte(l,  foi'irotteu,  oi'  at  most 
its  improvement  has  heeii  souu'ht  spasmodicall v. 
The  cai'elessiie>s  i-ei;-ai"diiii:'  tone,  which  is  so 
prevalent,  is  due  to  an  ahno>t  entire  al)>ence  of 
\f{nM\  teachinir  on   the  ^uliject     i;f    tile   <-hilil- N'oice 


46  CniLD-VOIGE  IN  SINGING. 

— to  ignoraiice,   let  us  say — not  altogether  in- 
excusable. 

Now  and  tlien,  when  listening  to  the  soprani 
of  sonic  well-trained  boy-choir,  sounding  soft 
and  mellow  on  the  lower  notes  and  ringing  clear 
and  tlutey  on  the  higher,  it  may  have  dimly  oc- 
curred to  the  teacher  of  public  school  music  that 
there  might  be  things  as  yet  unheard  of  in  his 
musical  philosophy,  a  vague  wonder  and  dis- 
satisfaction, which  has  slowly  disa})peared  under 
the  pressure  of  routine  work. 

When  one  reflects  upon  the  results  which  the 
patience  and  skill  of  our  regular  teachers  have 
accomplished  in  teaching  pupils  to  read  music; 
it  can  never  be  reasonably  doubted  that  the  same 
pati<^,nce  and  skill,  if  rightly  directed,  will  be 
equally  successful  in  teaching  a  correct  use  of 
the  voice. 

Two  principles  form  the  basis  of  good  tone- 
production  as  applied  to  children's  voices. 

1st.    I'Jieij  i/ni.st  ,sin<j  softly. 

2d.  lliey  mufit  be  restricted  in  comjxiss  of 
voice. 

If    these   two   rules  are  correctly   a])i)li('d   in 


CIULD-VOICK  IS  SISOING. 


cacli  irrade,  if  pupils  siiii:;  softhj  ()iou<fh,  aiid 
carrv  tlu-ir  tdiics  iicitlu'i'  too  liii^li  nor  too  low, 
alwavs  takiiii^^  into  account  the  irrade  (»r  avcrai^c 
aijr  of  tlic  class,  tlicn  the  voice  will  he  used  only 
i)i  tin:  tli'in  or  In  ad-n  >/lsf(  )\  and  the  tones  of 
the  thick  or  chest- rei,dster  will  never  he  heard. 
Unt  the  two  I'ules  must  he  as  one,  for  if  soft 
siuiiiiii:-  he  caiTie(|  too  low  with  infant  voices, 
they  ari'  foi'ced  to  use  the  thick  tones;  and 
children  of  all  a;^a's.  even  if  siiiii-ini;  within  the 
I'iulit  compass  ot  \-oice,  will  use  the  thick  rci^is- 
ter  if  permitted  to  sinir  t(M»  loud. 

Tlu'i'i'  is  nothiiiir  particularly  oriirinal  in  in 
sistin:Lr  ui)on  soft  sinixiiiij:  from  children.  The 
writer  h«s  never  seen  a  hook  of  school  music 
that  docs  not  mention  its  desirahilitv,  nor  hardly 
a  I'cfei'ence  to  the  child-\dice  in  the  standard 
woi'k>  oi-  writings  of  the  day  (»f  whicdi  this  idea 
lia>  not  foi'me(l  ;i  part. 

The  L^eiK-ral  direction  '"Sinir  softlv  *'  is  ^ood 
so  fai- a>  it  u'ocs.  hut  is.  tiivt,  indetinite.  Softly 
aii<l  loudly  are  i-elati\-e  tei'iiis.  and  suhject  to 
wide  di\-c!'>ity  of  iMter])i'ctat ion.  'i'lic  pianis- 
simo of  a  cull  i\atrd    .-iiiiicr    i>   .-ileiice    CDinpai'ed 


48  CHILD-VOICE  IN  SINGING. 

to  tlic  tone  emitted  by  vocalists  of  the  main 
strengtli  order,  when  required  to  produce  soft 
tone.  Secondly,  the  direction  is  seldom  or 
never  found  coupled  with  instruction  upon  the 
vocal  compass  of  children.  Hence,  it  does  not 
seem  very  strange  that  the  injunction  "Sing 
softly  "  has  not  (corrected  vocal  errors  in  school 
singing. 

It  is  not  easy,  it  is  even  impossible,  to  ac- 
curately define  soft  singing,  and  no  attempt  wiU 
be  made  further  than  to  describe  as  clearly  as 
may  be  the  degree  of  softness  which  it  is  neces- 
sary to  insist  u])on  if  we  would  secure  the  use  of 
the  thin  or  head  register. 

The  subject  of  register  has  already  l)ccn  dis- 
cussed, but  it  may  not  be  amiss  to  repeat  just 
here  that  in  the  child  larynx  as  in  the  adult  the 
head-register  is  that  series  of  tones  which  are 
produced  by  the  vibration  of  the  thin,  inner 
edges  of  the  vocal  band.  If  l)reathiiig  is 
natural,  and  if  the  throat  is  open  and  relaxed, 
no  strain  in  singing  tliis  tone  is  ]K)ssil)le.  It  is 
evident  in  a  moment  tliat  cliildi'cn  with  their 
thin,  delicate  vocal  lii;-am{Mits  can  make  tinstone 


CHILD-VOICE  IN  SISGISG.  19 

even  more  easily  than  adult  sopranos,  whose 
vocal  liijaiiients  are  loiiijer  and  thicker*;  and  it 
is  also  perfectly  evident  that  no  danger  of  strain 
t(»  the  vocal  hands  is  incurred  when  this  voice  is 
used,  for  all  the  muscles  and  lii;aments  of  the 
larynx  are  under  far  less  tension  than  is  re- 
(juii'cd  for  the  })roduction  of  tones  in  the  thick 
register. 

It  nnist  also  hi'  rememhered  in  connection 
with  this  fact,  that  children  often  enter  school 
at  live  years  of  au'c,  and  that  accordiuij:  to 
physiologists  the  laiwnx  dot's  not  reach  the  full 
i^rowth  in  f<h(\  incidental  to  childhood  until  the 
iti^^c  of  six  years.  AVe  must  then  he  j)articularlv 
careful  with  infant  classes — for  the  vocal  bands  of 
cliildren  prior  to  six  vears  of  age  are  very,  vcr\ 
weak.  Speakiiiii'  of  infant  voices.  Mr.  AV.  M.  Mil- 
ler, in  Browne  and  J5elinke's  afore-meiitioiicd 
woi'k,  *'  The  Cliild  -  A^oice,"*  is  (pioted  as  saviiiLT* 
'' Voice-/'/'a/////'y  cannot  he  attempted,  hut  voice- 
(lestrnctliju  may  he  prevented.  iSoft  singing  is  the 
cure  for  all  the  ills  of  the  vocal  origans."  It 
WduM  he  hai'il  to  tind  a  nioi'e  terse  or  ti'uthful 
htatement  than  tlie  tir>t  >entence  id'  theahove   as 


50 


CHILD-VOICE  IN  SINGING. 


regards  tlie  voices  of  little  children  from  live  to 
seven  or  eight  years  of  age.  It  is  nnniitigiited 
foolishness  to  talk  about  vocal  training  as  ap- 
plied to  children  of  that  age.  The  voice- 
culture  which  is  suited  to  little  children  is  that 
sort  of  culture  wliich  promotes  growth — food 
aTid  sleep  and  play.  As  well  train  a  six  months' 
old  colt  for  the  race  track,  as  attempt  to  develop 
the  voice  of  a  child  of  six  or  seven  years  with 
exercises  on  o,  and  (Ji,  ^//c/?i2,svs/7«c»  and  forth- 
simo^  crescendo^  diminuendo  and  stcell.  Their 
voices  nnist  l)e  used  in  singing  as  Ihjldly  <(k 
possible.  This  answers  the  (piestion,  how  sctftly 
should  they  sing? 

Children  during  tlie  first  two   or   three   years 
of   school -life  may    he  permitted    to   ting  from 


or  if  the  new  })itch  is  used  from 


Two  or  three  i)ructi('al  ditliculties  will  at  oncc^ 
occur  to  the  teacher  with  reference  to  songs  and 
exercises  which  ran<j'(i  lower   than    E  first    line, 


CHILI)- VOICE  IN  SI  NO  I  NO.  51 

jiiid  Avitli  rct'crt'iic'c  to  the  eiistoiiuiry  teacliiii^  of 
tlio  seaK'  of  r  as  tlu-  initial  step  in   sin<2;in<i;. 

The  snhji'ct  of  compass  of  eliihlren's  voices 
will  l)c  discussed  at  some  length  in  a  followini; 
cha])ter,  but  for  the  present  it  may  be  said  thai 
the  ditHcnlty  with  sonijjs  and  exercises  ran«;in',' 
below  the  pitch  iiidicate(l  may  be  overcome 
easily  by  pitchiiii;  the  sonirs,  etc..  a  tone  oi"  two 
hiirher.  If  they  then  ran<;e  too  hiirh,  don't  sinij 
them,  sinu:  somcthinii^  else.  In  teaching;  the 
scale,  take  \\  o!"  1"'  as  the  keynote,  and  siiiir 
either  one  oi"  the  other  of  those  scales  lirst.  The 
chil(h-en  must  sini!;  as  softly  as  possible  in  all 
their  .-iuuiuii:  exercises^  whether  souj^s  or  note 
drilh  They  >hould  l»e  taught  to  opi'U  their 
moutlis  well,  to  sit  or  stand  erect  as  the  case 
may  lu-.  and  under  no  circumstances  should  tlu- 
iii.-rrnctor  siiit;  with  tliem.  Too  much  impor- 
tance can  hardh-  be  <xi\('n  to  this  last  statement, 
if  teachers  pei->i>t  ill  leaijinir  the  song's  with  tlieii- 
own  \(iices  and  in  >ini,''iiii;  exercises  with  the 
c]iil(h-eii.  they  can  and  mo>t  probably  will  ilefeat 
all  etlnrts  to  >eciire  the  ritcht  tone  in  either  the 
lir>t.  oi'  any  i,n'a<ie  U[>  to  that   m    which  changiMl 


52  CHILD-VOICE  IN  SINGING. 

voices  are  foniid.  Tliis  sounds  rather  cynical, 
and  inig-lit  seem  to  imply  that  instructors  camiot 
sing  well.  The  meaning,  howi^ver,  is  quite 
different. 

The  qnalitv  or  tind)i"e  of  the  adult  womaiTs 
voice  is  wholly  unlike  that  of  the  child's  thin 
register.  Her  medium  tones,  even  when  sung 
softly,  have  a  fuller  and  more  resonant  (juality, 
and  if  she  lead  in  songs,  etc.,  the  pupils,  with 
the  proverbial  aj)titude  for  imitation,  will  in- 
evitai)ly  endeavor  to  imitate  her  tone-quality. 
Tiiey  can  only  do  so  by  using  tlu;  thick  register, 
which  it  is  so  desirable  to  utterly  avoid.  Tt  is 
worse  yet  for  a  man  to  lead  the  singing. 
Neither  should  one  of  the  ])npils  be  allowed  to 
lead,  for  not  only  will  the  one  leading  force  the 
voice  in  the  elfort,  but  a  chance  is  offered  to 
any  ambitious  youngster  to  ])itch  ii>  and  out- 
sing  the  leader;  from  all  of  which  follows 
naturally  the  idea  that  all  prominence  of  indi- 
vidual voice  nmst  Ix;  discoui-aged,  forbidden 
even.  The  songs  and  exercises  must  be  led,  it 
is  true,  but  by  tlie  teacher  and  ^iUnilij.  Then, 
a^ain,  uidess  the  teacher  is  silent  she  cannot    be 


CHILD-VOICE  jy  iih\Uh\G.  5:$ 

a  ijood  critic.  Think  of  ;i  voice-traiiicr  siiiiriiij' 
each  sjolfcggio  iiiul  suii^  with  his  pupil  during 
the  lesson. 

Certainly  it  is  often  necessary  for  the  teacher 
to  sin^,  hut  only  to  illustrate  or  correct,  or  to 
teach  a  soiii!;.  In  the  last,  if  the  teacher  will 
remain  silent  while  the  class  re])eat  the  line  sunir 
to  them,  and  will  pi'oceed  in  the  same  way  until 
the  whole  is  memorized  in*  the  class,  not  oidy 
will  time  he  economized,  l)ut  the  tone  can  he 
ke})t  as  soft  as  is  desired  and  individual  shoutcrs 
checked.  Once  more  it  must  he  insisted  that 
soft,  very  soft  sint^dni;  only,  can  be  allowed. 
And  this  applies  to  the  entire  compass  u^vd. 
Children  of  the  aires  mentioned  can,  as  has  al- 
ready heeii  shown,  break  from  the  thin  to  the 
fliick  \-oice  at  any  })itch,  it  oidy  re(]uirini;  a  lit- 
tle extra  })U>h  for  the  upper  tones. 

Finally,  as  an  excelli'iit  tt'st  to  settle  if  the 
tone  is  soft  cnouu-h  to  ensure  the  use  of  the  thin 
I'eiri^ter  bi'Voiid  doubt,  re(piii'i'  the  class  to  sini: 
so  that  no  pai'ticular  voice  can  be  distiiii;uished 
from  the  others,  which  will  make  the  tout'  as 
that  of  one  Voice,  and  [)ei-haps  lead  you  to  doubt 


84  CHILD-VOICE  IN  SINGING 

if  all  arc  singing,  until  convinced  by  the  move 
nient   of    their    mouths.      The    tone    will    seem 
pretty  light  and  thin,  but  will  be   sweet  as   the 
trill  of  a  bird. 

To  Dlxfinyuish  Rcgistfers. 

The  difficulty  which  may  be  experienced  m 
attempting  to  distinguish  between  the  two  regis- 
ters must  not  be  disregarded.  If  the  voices  of 
children  were  never  entrusted  to  any  save  ])i"o- 
fessional  voice-teachers,  a  very  few  hints  upon 
their  management  would  perha})s  suiHcc,  for  tlic 
ear  of  the  teacher  of  voice  and  singing  is  pre 
sumably  trained  in  the  dilferentiation  in  tonc- 
(piality  occasioned  by  changes  in  the  action  of 
the  vocal  mechanism.  AVhen,  however,  we  re- 
flect that  of  the  thousands  of  teachers  in  our 
public  schools  very  few,  indeed,  have  ever  heard 
of  voice-registers,  and  nmch  less  been  accus- 
tomed to  note  distinctions  in  tone-timbre  be- 
tween them,  the  need  of  a  detailed  plan  of  pro- 
cedure is  seen. 

It  is  safe  to  assci't  that    anyone  with  a    musi- 
cal ear  can  with  a  little   patience  learn   to  distin- 


CHILD-VOICE  IN  SL\GL\G.  :,rj 

^nisli  one  rcii-istor  from  aiiotlier.  Tliero  is  no 
vot'ul  triuisitioii  so  iiiiirked  as  tlic  {•liaii<;e  from 
thick  to  thin  rciristiT  in  the  chihl-voice,  unless 
it  l»e  tlie  chani^^e  from  tlie  chest  to  the  head  or 
falsetto  in  the  man's  voice.  Suppose  we  take 
a  class  of  say  twelve  from  the  fourth  year 
aveiMi^imr  nine  years  of  a<i;e.  (iive  them  the 
pitch  of  C. 


Require  them  to  sin^'  Uj)  the  scale  loudly.      As 
they    reach    the    U[)per   tone 


stoptliem  and  ask  them  tosinu'that,  and  the  two 
t(»nes  ah<!\'e  t'< /'_'/  ■""[ft^'J-  The  chani^t'  in  tone 
will  he  (piite  appai'cnt.  The  torn;  w^vA.  in 
ascendiii;:;  the  .-cale  of  (',  sim;ini;-  haidly,  will  he 
reed\\  thick  and  hai'sh — the  thick  retrister.  The 
tone  Upon 


sini:;in!j:  vci'y  Mit'tly.  will    he    tlute-like,    thin   and 
^•lear — the   thin    re:;-ister.      Ai;ain,   let  them  .-iui' 


56  CHILD-VOICE  IN  SINGING. 

E  first  liuu  with  full  strength  of  voice  and 
then  the  octave  lightly,  or  have  them  sing  G 
second  line,  first  softly  and  then  loudly,  or, 
again,  let  them  ascend  the  scale  of  E  singing 
as  light  a  tone  as  possible,  and  then  descend 
singing  as  loud  as  they  can.  In  each  case  the 
change  from  thick  to  thin  voice,  or  vice  versa, 
will  be  illustrated ;  and  in  singing  the  scale  of 
E  as  suggested,  the  break  of  voice  a  little  highe)' 
or  lower  in  individual  cases  will  be  noticed.  It 
is  (|uite  possible  that  some  members  ()f  the  class 
may  nse  the  thick  voice  on  each  tone  of  tbe  de- 
scending scale  beginning  with  the  highest. 

Care  must  always  be  taken  that  in  singing 
softly  the  mouth  be  well  opened.  The  tend- 
ency will  l)e  to  close  it  wlien  re(]uired  to  sing 
lightly,  but  the  tone,  then,  will  be  nothing  but  a 
humming  noise.  It  may  as  well  be  said  here 
that  a  great  deal  of  future  trouble  and  labor 
nuiy  be  avoided,  if,  from  the  first,  ])Upils  are 
taught  to  kec})  tlie  mouth  fairly  well  o])ened, 
and  the  lips  su!Hcie;itly  apart  to  [)e!'mit  tlie  free 
emission  of  tone.  Let  the  lower  jaw  have  a 
loose  hinge,  so  to  speak.      It  is  well   enough  to 


CHILD-VOICE  IX  SI.\.il.\G. 


hi 


])(»iiit  <»ut  also  that  wIrmi  tlie  lower  jaw  drops, 
tlu'  toii;^MU'  u'ocs  down  with  it,  and  should  re- 
main exteiitjed  alonir  the  floor  of  the  mouth  with 
the  ti})  against  tiie  teeth  while  vowel-sounds  are 
suiii:;. 

There  are  many  other  ways  than  tho>e  al- 
^•eady  suggested,  in  which  the  distinction  hc- 
tween  the  reiri>ters  may  he  shown  Let  tiie 
whole  cla^s  siii^ 


itimi 


ig) 


softly,  and  tiicii  iiie  next  lower  tone  or  tones 
loudly.  The  thick  ([uality  will  he  heard 
ea.-ily  eiioUi^h.  ( )r  from  the  iMom  select  a 
pupil,  one  of  the  cla>s  who  ii.i-.  in  the  phrase- 
ology of  rile  x'hoojrooiu,  a  i;do(l  voice,  to  siiii;- 
the  >cale  of  I)  a>cendinu^  and  doceiidini:-.  If 
the  j)Uj»il  he  Hot  timid,  and  the  kind  I'efcri'cil 
to  ai'e  not  u>nall\\  and  if  joud  .-in^in::'  lias  heen 
cu>toiiiMi'y.  the  tone  will  he  coar.-e  and  reedy 
throuii'liouf.  Now  let  another  pupil  who  has 
what  i.-  called  a  li^'lit  \'oice.  and  who  daily  sits 
niode>tlv  in  the  ^hade  of  his  hoi.-tci'ou>  hrother. 
.^in-r  the  >;'me  scale.      The  U)\iv   in    all  lik"lilMi->j 


r;,9  CHILD-VOICE  IN  SINGING. 

will  be  pure  and  flutej,  at  least  upon  the  highei 
notes. 

Take  the  scale  of  E  now  and  have  eacli  pupil 
in  the  room  sing  it  alone.  There  may  certainly 
be  some  who  cannot  sing  the  scale,  and  if  the 
daily  singing  has  been  harsh,  the  number  may 
be  large,  but  postponing  the  consideration  of 
these  so-called  monotones  and  directing  the  at- 
tention wholly  to  tlie  quality  or  timbre  of  tone 
used  by  the  different  j)U})ils,  it  may  be  ob- 
served that  some  use  tlie  thick  voice  only,  some 
use  the  thin  voice,  others  break  from  the  thick 
voice  into  the  thin  at  one  pitch  as  tliey  ascend, 
and  from  the  thin  to  thick  voice  at  a  lower  pitcli 
as  they  descend;  and  if  rccjnired  to  sing  again, 
may  perhaps  pass  from  one  voice  to  the  other 
at  different  ])itches.  Others  again  may  exlii])it 
a  blending  of  the  two  voices  at  cei-tain  ])itches. 
In  fact,  unless  the  degree  of  j)ower  is  suddenly 
changed,  a  break  from  tlie  thick  tojie  upon  one 
note  to  the  thin  tone  upon  the  next  note  or  vice 
versa  seldom  ficeurs. 

The  same  illustrative  tests  may  be  ap})lied  to 
children  of  any  grade,  or  of   any  age   up  to  the 


CHILD-VOICE  IN  SINGING  59 

period  wlicn  the  voice  cliaiigcs,  only  the  break 
will  occur  lower  with  older  pupils.  Suppose, 
now,  the  teacher  has  obtained  a  tolerably  clear 
idea  of  the  dilTerences  between  the  registers ;  she 
should  then  arouse  a  perception  of  tone-quality  in 
her  pupils.  Let  the  beauty  of  soft,  light  tone  iis 
contrasted  with  loud,  harsh  tone  be  once  clearly 
demonstrated  to  a  class,  and  the  interest  and 
best  efforts  of  every  girl  or  boy  who  has  the 
germ  of  music  witliin  them  will  be  enlisted. 
Those  who  grumble  because  they  may  not  sing 
out  good  and  loud  may  be  disregarded,  and  with 
a  clear  conscience.  The  future  will  most  likely 
reveal  such  incipient  lovers  of  noisy  music  as 
j>()unders  of  drums  and  blowers  of  brass. 

Select  now  a  number  of  the  class  who  upon 
trial  have  been  found  to  have  light,  clear  voices 
and  who  are  not  prone  to  shout.      Let  them  sing 


and  then  slowly  descend  the  scale  of  E  or   F, 
singing  each  tone    softly,    and  those   below    C 


very  lightly.      This  will  insure  the  uninterrupted 


fiO  CHILD-VOICE  IN  SINGING. 

use  of  the  thin  register  to  tlie  h)west  note.  Let 
them  now  sing  up  and  (h)\vn  the  scale  several 
times,  observing  the  same  cantioTi  when  notes  be- 
low C  or  B  are  sung,  and  also  insisting  that  no  push 
be  given  to  the  u})})er  notes.  Xow,  first  excusing 
monotones,  let  the  other  pupils  in  tlie  room  sing 
first  down  the  scale  and  then  up,  imitating  the 
(juality  and  softness  of  tone  of  the  picked  class. 
Recollect,  you  are  asking  something  of  your  pu- 
pils which  it  is  perfectly  easy  for  them  to  do.  It 
may  be  that  the  strength  of  well-formed  habits 
stands  opposed  to  the  change,  but,  on  the  other 
hand,  every  musical  instinct  latent,  or  partly 
.iwakened,  is  becoming  alert  and  proving  the 
truth  of  your  teaching  better  and  faster  than  can 
any  finespun  reasoning.  Illustrate  the  diifer- 
ence  in  tone-(|uality  between  the  thick  and  thin 
register  as  often  as  it  is  necessary,  to  show  your 
pupils  what  you  wish  to  avoid  and  how  you  wish 
them  to  sing.  When  in  doubt  whether  or  not 
the  thin  quality  is  1)eing  sum;:,  re([uire  softer 
singing  until  you  are  sure.  It  is  better  to 
err  upon  the  side  of  soft  singing  than  to  tako 
any  chances, 


CHILD-VOICE  IN  SINGINQ.  61 

In  time  teacliors  will  becoino  quick  to  detect 

tlie  chaiii^e  in  rci^istor,  and  in  time  also  the 
^)r.{)ils  wiio  arc  trained  to  sing  in  the  thin  voice 
will  yield  to  the  force  of  good  hal)it,  as  they 
once  did  to  had  hahit,  and  seldom  otiend  by  too 
loud  or  too  harsh  tone. 

The  inquiry  may  naturally  have  arisen  ere 
this:  Are  syllables,  i.  e.,  <lo^  re,  mi,  etc.,  to  be 
used,  or  the  vowel-sounds  ?  It  is  immaterial 
from  the  standpoint  of  tone-production,  whether 
cither  or  both  are  used.  Until  children  are 
thoroughly  accustomed  to  sing  softly,  they  will 
be  ke[)t  upon  the  thin  register  more  easily  when 
singing  with  a  vowel-sound,  than  when  using 
the  syllables.  Tlie  reason  is  that  the  articula- 
tion of  the  initial  consonants  of  the  syllables  re- 
(piires  consi(leral»le  movement  of  the  organs  of 
speech,  viz.,  the  tongue,  lips,  etc.,  and  these 
movements  are  accom[)anied  by  a  continually-in- 
creasing outru.-li  of  air  from  the  lungs,  occasion- 
ing a  corre.-poiidiiig  increase  in  the  volume  of 
sound.  Adult  Voices  show  the  same  tendency 
to  increase  the  volume  of  tone  wheti  lirst  apply- 
ing  Words     to   a    passage    practiced    pianissimo 


62 


CHILD-VOICE  IN  SINGING. 


with  a  vowel-sound.  It  is  advisable  then  losing 
scales  and  drill  upon  them  with  a  vowel-sound, 
and  to  recur  to  the  same  drill  for  a  corrective, 
when  a  tendency  to  use  the  thick  voice  in  sing- 
ing note  exercises  appears. 

Scale  drill  may  he  carried  on  as  follows :  If 
the  scales  are  written  upon  a  blackboard  staff, 
tliey  may  from  <lay  to  day  l)e  in  different  keys. 
It  is  a  very  easy  matter  to  extend  the  scale 
neither  al)ovenor  below  the  ])itches  within  which 
it  is  desired  to  conline  the  voice.  For  cxam])le, 
the  scale  of  E  or  F  may  be  written  complete, 
that  of  G  as  follows : 


.r  A 


m^mi 


and  so  on.  Xow  let  the  teacher  witli  a  jxjinter 
direct  the  singing  <»f  the  class  upoji  the  selected 
scale  in  such  a  manner  as  to  secure  the  desired 
result  in  tone,  and  incidentally  a  familiarity 
with  })itch  relations,  etc.  Of  course,  if  chart.- 
are  useil  the  trouble  of  writinu'  scales  is  savi'd. 
onlv  it  is  advised  that  the  notes  Kiui;- outside  the 


CHILD-VOICE  IN  SIXGINU. 


C3 


prescril)tHl  compass  hi'  omitted  in  the  lower 
i^nides  entirely,  and  in  the  npper  until  the  huhit 
of  i^oot'i  tone  is  estahlished,  when,  of  course,  the 
tones  may  i)e  carried  helow  E  with  safety.  The 
extent  and  variety  of  vocal  drill  which  can  be 
<fiven  witli  a  poiiiti'r  and  a  scale  of  notes  is  won- 
derful; hut  iiothiiiir  more  need  be  now  sug- 
i:;ested,  than  tliose  exercises  which  are  j)eculiarly 
intended  to  secure  u'ood  tone,  and  tix  ijood  vocal 
habits,  althou;L:li  it  must  be  evident  that  all 
such  di'iil  is  veiw  far-rea(;hint:;  in  its  etYects. 

A    few   exercises  wliich   are  very    simj)le  are 
hci-e  suirireste(l.      First,  takinii;  the  scale  of 

for  example.  bet  the  teacher,  after  the  pitcL 
of  the  keynote  is  i^iven  to  the  cla.-s.  j)]ace  the 
l>ointei-  upon  1'",  and  slowly  moving'  it  from  note 
to  note,  a>c(iid  and  descend  the  scale,  the  class 
^in^iui,^  a  continuous  tone  U[)on  some  vowel,  o 
b)r  instance.  The  pointei"  should  be  jiassed 
from  note  to  note  in  >uch  a  manner  that  the  eye 
can  easily  follow  it.  If  the  notes  ai'e  indicati'd 
to    the   cla>s    b\-    a   scries  of   dabs  at  the  chart  or 


64  CHILD-VOICE  IN  SINOINO. 

bJackboard,  the  pointer  eacli  time  being  carried 
away  from  the  note  several  inches,  and  then 
aimed  at  the  next  note  and  so  on,  the  eye  be- 
comes weary  in  trying  to  follow  its  movements, 
and  the  mental  energy  of  the  pupils,  which 
should  be  concentrated  upon  tone,  is  wasted  in 
watching  the  gyrations  of  the  pointer.  If,  on 
the  other  hand,  the  pointer  is  made  to  glide 
from  note  to  note,  passing  very  quickly  over 
intervening  spaces,  then  the  eye  is  not  wearied 
in  trying  to  follow  it.  These  directions  may 
seem  pretty  trivial,  but  practical  experience  has 
proved  their  importance.  The  vowel  o  is  sug- 
gested because  it  has  been  found  easier  to  secure 
the  use  of  the  liead-register  with  this  vowel  than 
with  ah,  wlien  it  is  sought  to  break  up  the  habit 
of  singing  loudly  and  coarsely. 

The  term  continuous  tone  used  to  describe  the 
style  of  singing  desired  is  meant  literally.  If 
the  class  in  this  scale-drill  all  stop  and  take 
breath  at  the  same  time,  making  frequent  breaks 
in  the  continuity  of  the  tone,  there  will  be 
found  with  each  new  attack  a  tendency  to  in- 
crease in  vfjlume  of  sound.      For  certain  reasons. 


CHILD-VOICE  IN  SINGING.  65 

wliich  will  1)0  ex])l!iincd  in  the  cluipter  on  hreath- 
nianagenicnt,  tlic  uttack  of  tone  will  boconio 
more  and  more  explosive,  deinandiniji^  constant, 
repression.  This  irritating  tendency  may,  in  a 
short  time,  he  almost  entirely  overcome,  if,  in- 
stead (»f  letting  the  class  take  hreath  and  attack 
sinndtaneously,  each  2)upil  is  told  to  take  hreath 
oidy  when  he  or  she  is  ohligcd  to,  and  then  at 
once  and  softly  to  join  again  with  the  others. 
This  will  eifect  the  continuous  tone,  useful  not 
alone  as  a  corrective  for  the  tendencies  to  loud 
singing,  hut  also  to  estahlish  good  hreathing- 
hahits. 

This  same  swift,  silent  breath-taking  and  suc- 
ceeding soft  attack  of  tone  must  be  insisted  upon 
in  '///  .^cliool  singing. 

The  exercise  already  suggested  is  slow  singing 
or  rapid  singing  of  the  scale  with  the  vowel  o 
softly,  and  with  continuous  tones.  Other  sim[)le 
exercises  are  obtained  by  repetitions  of  the  fol- 
lowing exercise  figures  at  jiigher  or  lower  ])itcheg 
tliroughout  an  entire  scale,  or  parts  of  a  scale, 
ascending  and  descending  progressively: 


m  fJHILD-VOICh  IN  SINGING. 

FiGlTRK  I. 

Ascendinp. 


^ 


I       I       I 


^ 


(Same  figure  tone  higher.) 


(Again  raised.) 


r^±=±-- 


-I 1- 


Descending. 


^. 


^=^^ 


(Same  figure  tone  lower.) 


q*=»— r- 


-r— * — *- 


zm^^Bz 


(Again  lowered  ) 


-^^ — r 


*==ff=*^=:^ 


III        I 


::t=tl 


The  next  figure,  iii  which  the  voice  ascends 
or  descends  four  tones  at  each  progressive  repe- 
tition, has  a  different  rhytlnn. 

Fkukk  II. 


Ascending. 


^^Ei.-^|^^^>F«^ 


J     (Again^raised.) 


JC5lt:»- 


^^^^E^m 


Descendmg, 


CHILD-VOICE  IN  SIXGING.  G7 

AJiotluT  c'xerci.-o  ilmirc  is  to  use  live  atJcuiid- 
iiiir  and  (it'sct'iidiiit:'  ttnic.-, 

]ii  the  illii>rratioii  which  folhtws,  in  tlu(  key 
of  r»  tiat,  it  is  shown  liow  the  exerci.-es  may  he 
simu",  heijinnin<j,'  iij>on  tlie  keynote,  and  kee];ing 
within  the  Voice-c(Mnj)ass. 

Fira-RE  ITI, 


rj -J 


■•*  •••. 


(Sanio  Kx.  iiivtTtoil.) 


,~9-h 


^:; 


t_l  "^  "^  ^"      "^ 

i^^  ;^  ^  I  :^  ^  I  !;^  ^  |g^j 

'riie.-e  t'.xei'cix'S  are,  to  l)i'  suni;'  Mitli  \'owel- 
sonnds,  >ot'tlv.  foni'  measures  N\-itli  one  i)reatli, 
if  ]io>-i!)le,  and  in  .-ti'ict  tinie. 

( )n]y  .-o  many  of  tlie.-e  tone-^iToups  mav  he 
su iii;-  in  any  one  >cale,  as  He  williin  llie  e\t  ri-nies 
iif  jiitcli  >:'t   foi-  the  ;:i'ade,  hut  if   (HlTei-ent  scah's 


68  CHILD-VOICE  IN  SINGING. 

and  upward  and  downward  extensions  of  the 
same  be  used,  then  all  possible  combinations  oi 
tones  in  the  major  scale  may  be  sung,  that  is, 
these  exercise  iigures  may  upon  a  piano  be  re- 
peated seven  times  in  ajiy  key,  in  phrases  of  four 
measures  each,  botli  ascending  and  descending^ 
but,  owing  to  the  limitations  of  the  vocal  coni- 
pass,  only  a  certain  number  of  ascending  or 
descending  j)lirases  can  be  sung  in  any  one  key. 

While  it  is  suggested  that  drill  upon  these 
musical  figures  or  groups  of  tones  may  be  given 
from  scales,  the  teacher  tracing  out  the  tones 
with  a  pointer  with  a  rhythmical  movement, 
yet  it  is  still  better  to  practice  these  groups  oj- 
some  of  them  from  memory,  the  teacher  keep- 
mg  time  for  and  directing  the  class. 

Pages  of  musical  phrases  ada])ted  to  vocal 
drill  might  be  given,  but  to  what  end  except  to 
produce  confusion.  Our  greatest  singers  use 
but  few  exercises  to  keep  their  voices  in  good 
condition,  but   they   })ractice    them   very  often. 


Note. — The  directions  {.jiven  are  for  rooms  in  wliich 
the  teacher  has  only  a  pitch  pipe  or  tuniiiff  forii  to  get 
pitch  from.  If  there  is  a  i)iano  tlie  drill  work  for  tone 
will  be  conducted  a  little  differently. 


CHILD-VOICE  IN  SINGING.  CO 

The  exorcises  sn<;i^ested  are  intended  for  daily 
pnu'tice,  and  the  fewer  in  ininiher  and  simpler 
in  form  they  are,  the  better  will  he  the  results 
in  tone.  This  vocal  drill  which  should  ])recede 
or  he^in  the  daily  music  lesson  must  not  he  for 
over  live  minutt's  at  most.  Half  of  that  time  is 
enough,  if  it  he  sj)cnt  in  sin:j:;ini;,  and  not  frit- 
tered away  in  useless  talk,  and  (questions  and 
answei's.  A  j»ractical  aj)[)licati(jn  of  the  vocal 
drill  is  to  he  uuule  to  the  note-sini^iui;  from  the 
hook  and  chart,  and  to  the  school  rej)ertoire  of 
son::;s. 

The  ])]irascs  voice-culture,  voice-trainini;, 
V(>ice-dcveloj)ment,  etc.,  have  ])een  avoided 
in  ti-eatini;  the  suhjcct  of  childreirs  voices,  he- 
(•au>ci  of  po>>ihK;  mi.-appiH'licnsion  of  tlieir  in- 
tc'ndi'(l  meaning.  The  terms  are  not,  of  course, 
inapplicahle  to  cliildren's  voices,  hut  tliey  nuist 
(•oii\cy  (|uire  a  dincrent  signiticance  tlian  they 
do  when  aj)plied  to  the  adult  voice.  In  each 
-ca>e,  the  end  of  voice-culture  is  the  formation  of 
coi'rect  vocal  hahits;  hut  it  would  sct'm,  that 
while  it  is  po<>ihlu  to  develop  the  adult  voice 
very    consitk-rahly    in   power,    range    and    llexi- 


70  CHILD-VOICE  IN  SINGING. 

bility,  we  ought,  in  dealing  with  children's 
voices,  to  adopt  those  methods  whicli  will  pro- 
tect weak  and  growing  organs.  The  aim  is  not 
more  power,  but  beauty  and  purity  ratlior.  It 
should  not  be  inferred  tliat  beauty  of  tone  is  not 
equally  the  aim  in  culture  of  the  adult  voice, 
but  in  that  case  it  is  consistent  with  develo})uient 
of  strength  and  brilliancy  of  voice,  while  with 
young  children  it  is  not.  If  tlie  tone  is  clear, 
beautiful,  well  poised,  and  under  the  singer's  con- 
trol, then  the  training  is  along  safe  lines.  If  the 
tone  is  bad,  harsh,  pinched  or  throaty,  then  the 
training  is  along  unsafe  lines.  When  the  parts 
act  harmoniously  together,  and  there  is  a  proper 
and  nornuil  adjustment  of  all  the  organs  con- 
cerned in  the  production  of  tone,  the  result  is  good. 
Bad  tone  follows  from  the  ill- adjustment  of  the 
parts  concerned  in  voice  ]>i'odnction.  It  is  the 
office  of  the  tea(*her  to  cori'cct  this  ill-adjustment 
and  bring  about  a  ]>ei'fect,  or  nearly  ])crfect  func- 
tional action.  The  teachei-  must  judge  of  the 
proper  or  improper  action  of  ihe  pai'ts  concerned 
in  tone  production  l)y  the  sense  of  heai'ing.  Xo 
accumulation  of  scientitic  knowledire  can  take  the 


CniLD-VOli'E  I\  ,S7.V^'/3Y;.  71 

place  of  ii  careful  and  alert  ciitical  (aciiltv  in 
training;  \oice.  Tone  C(>lor  must  u'uide  the 
sehool  teacher  in  (leterininini^  i-ci^ister  as  it  does 
the  [)i-ot"essional  voice  ti'aiiier.  Hut  we  can  also 
call  the  mental  percept  ions  of  the  child  to  our 
aid,  and  will  find  a  more  lively  sense  of  disci'im- 
inatioii  in  tone  (juality  than  the  avei'au'e  adult 
shows.  We  can  encoiii-ai;e  the  iri'owth  of  hi^h 
ideals  of  tone  heauty.  We  can  cultivate  nice 
discrimination.  We  can,  in  short,  use  music  in 
our  schools  not  to  didl,  hut  t(»  (piicken,  the 
inusical  sensibilities  of  childhood. 


CHAPTER  ly. 

COMPASS    OF    THE    CHILD-VOICE. 

"^  I  ^HERE  is  the  greatest  diversity  of  opinion 
upon  tliis  snbjcct  among  those  who  have 
any  opinion  at  all.  It  might  be  supposed  that, 
among  the  thousands  of  educators  who  are  in- 
terested in  school  music  and  in  the  singing  of 
children  generally,  many  might  l)e  found  who 
have  given  the  sul)ject  careful  attention,  hut 
such  does  not  appear  to  be  the  case.  If  we  con- 
sult the  musical  literature  published  for  chil- 
dren, the  prevalence  of  songs  suited  to  the  con- 
tralto voice  is  noticeable,  indicating  apparently 
that  the  compass  of  infant  voices  at  least  is  about 
the  same  as  that  of  the  adult  contralto.  If 
there  is  any  generally  recognized  theory  upon 
the  subject,  it  would  seem  to  1)0  this;  l)ut  from 
a  physiological  standpoint  the  voices  of  children 
are  totally  unlike  the  wonum  contralto,  and 
especially  is  this  true  of  children  of  from  six  U) 
eight  years  of  age  whose  songs  are  usually  writ- 
ten so  low  in    range.      An    error,    started   any- 


CHILD-VOICE  IN  SINGLXG.  73 

wlien;  or  iit  any  tiiiic,  of  theory  or  of  practice, 
if  it  once  hecoiiie  iiicorj)orutiHl  into  the  litera- 
ture of  a  sultji'ct,  is  liahk'  to  he  frecjuently 
copied,  and  enjoy  a  lonii;  and  usck'ss  life.  So 
with  this  treatment  of  tlie  chilil-voice.  The 
error  is  in  supposini^  that  it  consists  of  a  limited 
number  of  quite  low  tones.  It  has  its  origin 
in  the  sole  use  of  the  so-called  chest-voice  of 
the  child,  and  when  the  evident  strain  under 
which  a  child  of  six  or  seven  years  lahors  to 
sin;^-  up  is  ol)S('i'V(_'d,  the  conclusion  seems  safe 
tliat  tlicy  cannot  sini:;  hii^h.  While,  on  the 
other  hainl.  they  manai;-e  with  ap[)arent  ease  t<; 
siui:;  down  even  as  low  as 


"^riiis  Conception  has  in  divers  ways  so  im- 
heddiMl  itself  into  th(!  musical  literatui'c  foi'  lit- 
tle cliiMi'eii,  that  all  etforts  to  uproot  it  have  S( 
fai-  lieeii  appai-ently  futile.  There  are,  how- 
e\ei\  ver\'  many  supervi>oi's  of  school  music, 
and  the  numhei-  is  ^i-ow  iiii^-.  who  haxc  i-ecotr- 
ni/.ed  that  this  treatment  of  little  children's 
Voices    is    a    \(ical    harhai'itv,  and    the   device   of 


74  CHILD-VOICE  IN  SINGING. 

pitcliiiiii:  soiiiifs  liio-hor  tliaii  they  are  written  to 
overcome  tlie  difficulty  is  more  eommou  tliau 
miii'lit  l»e  supposed.  Tliei'e  cjui  be  no  douhr 
tliat  in  a  shoi-t  time  tli(>  pi'actiee  of  carrviuii^  tlie 
tones  of  little  children  tliri'e  aiui  four  notes  l)e- 
lo\v  tlie  fii'st  line  <tf  the  staff  will  not  be 
tolerated. 

The  common,  even  univei'sal.  tendency  of 
primary  classes  to  drop  in  j)itch  when  ^inging 
with  the  u>ual  thick  tone  iiii^ht  show  anyone 
that  the  V()ice  was  hciu^-  used  in  an  abnormal 
manner.  I''urrhei'moi'e.  the  intonation  of  chil- 
diX'ii  of  any  ai;'e  i>  ^onic-thinu'  horrihle  wlien  the 
thick  Voice  is  u>ed.  Kxcii  carefully-selected 
and  traim^d  boy  choi'i-tt'rs.  if  they  use  this  >oice. 
are  fi"e(|uenfly  olf  tlie  key  even  when  supported 
by  men's  \dices  and  the  oi'^an.  So  in  addition 
to  other  I'ea^oiis  foi-  nsin^-  the  thin  I'l'u'ister  may 
be  added  this,  that  habits  of  faulty  intonation 
are  surely  fo>tei'e(l  by  the  use  of  the  thick  vtjice. 

Picture  to  yourself  the  shoi-t.  thin,  weak  vocal 
bands  of  a  child  of  >i\  oi-  seven  years  attaclu'd 
to  cartilauiiiou.-  walls  >o  de\did  of  riu'idity  that 
in    that   dreaded    di>ease   of  childhood — ci'oup — 


CH1L1)~V01CE  IS  SI.\(1I.\(;. 


they  cftcii  (•<>ll:ii)st'.  That  is  not  an  in>truiiiciit- 
for  tin-  j)f(.(liicti()n  of  toiu's  in  the  conti  alto  coin 
[•ass.  No  Wonder  tlie  j)itrli  is  \va\ ci-iiiLi-.  It 
infant  clasH-s  ai-c  to  >iii^  witli  the  n>ual  tom-s, 
tlu'  coninioii  aiKicc  to  make  the  >ini:iiiu-t'\t-'r('i>e 
short  is  extremely  jiKJicious.  It  Would  he  het- 
ter  to  omit  it. 

The  intimation  tliat  the  last  word  can  now  In- 
said  on  thi>  >iil>ieer  is  not  for  a  m(^nient  intemleil, 
lait  expei'ieiice  has  :;;i\en  somi!  tolerahh'  >afe 
hints  ill  refereiiee  to  tlie  compass  of  the  child- 
voi(H'  in  the  thin  rei^i.-ter  at  the  a^^'cs  mentioned, 
ami  it  is  ad\i>ed  never  to  carry  the  com](a-> 
lowei  than  l-",  tir>t  line,  nor  lii^'her  than  !■'  filth 
line  of  the  .-taif.  and  the  iijiper  extreme  mii>t  he 
sung  s],iariii;^ly.      d"he  ea>ie>t  tones  He  frc^m 

'J'he  injunction  to  -iiiii'   wvy   sofrly    need    hardh 
he   I'ejieated. 

I*a»ini;-  iiitw  to  children  who  ran::-e  in  ai;e 
from  nine  to  ejexcii  year>,  who  are  found  in  the 
foui'th  ami  til'th  year-  of  schooldil'e.  it  ma\'  he 
ohser\'ed  that   there  i-nuiica  marki-d   increa-e  in 


76  CHILD-VOIVE  IN  SINGING. 

the  evenness  and  firmness  of  their  tones.  It  is 
quite  possible,  especially  at  the  age  of  about 
eleven  years,  to  extent  the  compass  to  G  above 
the  staff  and  to  D  or  C  below  ;  but  if  it  does  no 
liarm,  it  serves  no  particular  good  end  either,  and 
unless  care  is  taken,  the  children  will  })ush  the 
liighest  tones.  All  of  the  necessary  music  drill 
can  1)6  kept  within  the  suggested  range,  and  it 
is  just  as  well  to  keep  on  the  safe  side.  Then 
again,  the  extremes  in  age  between  children  of 
the  same  class  grow  farther  a[)art  as  we  ascend 
in  grade,  and  the  compass  must  be  kept  within 
the  vocal  poM'ers  of  the  youngest,  and,  from  a 
voice-standpoint,  weakest  pupils.  Protect  the 
voice,  and  nature  will  attend  to  its  develo})meiit. 
From  the  time  children  pass  the  age  of  twelve 
years  on  to  the  period  of  puberty,  the  child-voice 
is  at  its  best,  and  if  the  use  of  the  thin  registei' 
has  been  faithfully  adhered  to  in  the  lower 
grades,  the  singing-tone  will  now  lie  both  j)iiif 
and  brilliant.  It  will  be  found  not  at  all  dilli- 
cult  to  carry  the  same  voice  as  low  or  lower  than 
middle  C  without  any  peiceptible  cli:uige  in  tone- 
quality,  and  G  above  the  staff  will  be  sung  with 


CIITLD-VOIChJ  IN  SlXdlXd. 


77 


absolute  ease.  How  iiuieli  hi^licM-,  if  any,  the 
compass  may  be  canied  is  open  to  (liscussioii.  It 
is  not  at  all  necessary  in  scIidoI  music  to  i(o  any 
higher,  for,  even  where  it  is  deemed  best  to  i-aise 
the  pitch  of  the  sonir  or  exercise  to  avoid  too 
low  tones,  the  })itcli  of  the  liiirhest  note  will  sel- 
dom be  above  (x— space  above.    . 

Still,  it  is  the  [)racti('e  of  choirmasters  to  carry 
the  tone  of  soj)rano  b(»ys  imich  higher  in  vowel- 
practice,  us  high  even  as 


and  although  that  is  a  ])retty  altitudinous  pitch, 
tliere  ai'e  very  few  choir-boys  who,  when  taught 
to  brt'utlie  {)ropei-ly,  etc.,  will  not  take  it  oc- 
(■a>ionally  with  perfect  ease.  The  head-register, 
('\t'n  in  Woman's  voice,  is  ca[)al)le  of  great  ex- 
l);insioii,  if  good  habits  of  tone-})roduction  are 
followed.  Ihit  again  it  is  well  to  be  on  the  safe 
side;  and  ciioii'-boys.  wlio  ai"e  selected  beeaus<; 
tlicv  liavo  good  vocal  organs,  and  who  are 
di-jllfd  fur  more  than  school  cldldren,  are  hardly 
u  ci'itci'ion  to  go  by. 

It  nni>t  not  i)e  forgotten   that   the    thin   voice 


78  CUILD-VOICE  IN  SINGING. 

can  be  pushed  and  forced.  Good  judgment 
must  be  exercised  in  controlling  the  power  of 
voice,  or  children  will  strain  the  vocal  mechanism 
in  trying  to  outsing  each  other  on  hi(jJi  tones. 
The  (piostion,  IIow  higli  may  ])oys  or  girls  sing 
who  have  passed  twelve  years  of  age  and  whose 
voices  show  no.signs  of  break,  is  not  so  very  im- 
portant after  all,  for  if  they  have  l)ecn  well 
ti'ained  in  soft  tone,  no  danger  of  vocal  strain 
need  be  feared  even  if  an  occasional  high  A  or 
n  Hat  is  struck. 

The  reason  for  the  ease  with  which  children 
sing  the  high  liead-tones  is  fouiul  in  the  struc- 
ture of  the  vocal  bands.  They  are  tJiui.  (Jon- 
sequently,  there  is,  compared  to  the  entire  sub- 
stance of  the  vocal  bands,  a  larger  portion  jiro- 
portionatcly  set  in  viltration  than  for  the  pro- 
duction of  the  head-t(jne  in  wonia'Ts  vcuce. 
And  when  the  child-voice  is  so  used  that  no 
strain  of  the  laryngeal  structure  is  occar-ioned, 
that  is,  when  the  vocal  ligaments  nre  exercised 
in  a  normal  manner,  it.  cannot  but  happen  that 
the  muscles  controlliiiu-  the  \-ocal  bands  will  in- 
crease in    strenirth,    and    that    the   bands    them 


CHILD-VOICE  IN  SINOINO.  79 

selves,  composed  as  tliey  are  of  nnmberless 
elastic  fibres,  will  improve  in  genenil  tone  and 
elasticity. 

The  sufj^gestioiis  made  in  regard  to  tlie  com- 
piiss  of  voice  are,  be  it  said,  simply  suggestions 
based  on  experimental  teaching  and  are  such  as 
it  is  believed  may  be  followed  with  safety  in 
school  singing.  If  they  do  not  square  M'ith  the 
music  (jf  l)()(tks  and  c^iarts,  why,  as  before  said, 
it  is  a  very  him  pie  matter  to  give  a  higher  key 
for  any  exiircisc,  tlian  the  one  in  which  it  is 
written,  A  supervisor,  by  marking  the  exer- 
cises in  tlie  desk  c()[)y,  can  ensure  the  use  of  the 
key  he  desires.  If  it  is  objected  that  the  tones 
then  sung  will  not  r('j)resent  the  real  [)itch  of 
the  written  notes,  wliy  tliat  is  at  once  admitted, 
AVhat  tlien?  The  idea  of  teaching  a!)so]ute 
pitch  is  a  chimera.  Pianos  are  not  alike  in 
})iteh,  neither  are  tuning-forks.  ('lasses  will 
often  f(ir  one  cause  ur  another  end  a  half  tone  or 
a  tout!  lower  than  they  began  even  if  the  pitch 
as  written  is  given.  It  may  not  lie  (h'sii'ahle  to 
sing  in  one  key  music  tliiit  is  read  in  another, 
b'at  it  certainly  is  less  objectioimble  in  every  way 


80  CHILD^VOTCE  IN  SINGING. 

than  is  an  nnsafe  use  of  tlie  voice.  The  correct 
use  of  the  voice  must  transcend  all  considera- 
tions in  vocal  music,  and  no  sort  of  practice 
which  misuses  the  vocal  oigans  can  be  excused 
Cor  a  moment. 


CHAPTER  V, 

POSITION,     imKATIIIN'c;,    A'lTACK,   TONK    1-OKM ATION. 

/^^NE  way  to  secure  i^ood  position  is  to  re- 
^~"^  quire  tlie  ])Uj)ils  to  stand.  Unless  the 
8ingini;-})eriod  directly  follows  a  recess,  or  the 
drill  in  physical  exercises,  the  ])U])ils  will  wel 
come  tlie  o])})ortunity.  As  soon  as  standing  he- 
comes  irksome  resume  the  seats.  \o  further 
direction  in  regard  to  sitting  position  is  neces- 
sary than  that  the  body  sliould  he  lield  not 
stiffly,  hut  I'asily  erect  and  self-supporting,  rest- 
ing neither  uj)on  the  hack  of  chair  nor  uj)on  the 
desk  in  front.  A  douhled-up,  cranip('(l  posi- 
tion is,  of  course,  all  wrong,  and  niay  he  avoided 
if  the  ])upils  are  permitted  to  alternate  hetween 
sitting  and  ijtanding  positions;  hut,  if  re([uii'ed 
to  sit  as  suggested  for  too  long  a  time,  tlu^  rule 
will  soon  '•  he  honored  iimre  in  the  hreach  than 
in  the  observance. "  This  brings  us  to  tlie  con 
sidcration  of 

for  the  latter  in  its  relations   to    vocalization   do 
«1 


83  CHILD-VOICE  IN  SINGING. 

pends  iniicli  upon  position.  Thd  breath  is  the 
motive  power  of  tlie  voice  in  speech  or  song, 
and  the  fundamental  inipuftance  of  managing  it 
ariglit  lias  been  understood  )|y  every  tcaclier  of 
voice  since  the  time  of  Porpura. 

How  for  singing  purposes  breath  shall  be 
taken,  how  exhaled,  how  managed  in  sliort,  is 
not  yet  entirely  settled  and  presumably  never 
will  be,  for  peo2)le  are  not  born  wise,  and  some 
never  acquire  wisdom,  of  whom  a  few  teach 
music.  Browne  and  Behnke,  in  "  Voice,  Song, 
and  Speech,"  p.  138-142,  describe  the  jjrocess 
of  breathing  as  follows  : 

"There  are  three  %vays  of  carrying  on  the 
process  of  respiration,  namely,  midriff  breath- 
ing, rib-breathing,  and  collar-bone  ])reat]iing. 
These  three  ways  are  not  wholly  inde])endent  of 
one  another.  They  overlap  or  partly  extend  into 
one  another.  Nevertheless,  they  are  sufficiently 
distinct  and  it  is  a  general  and  convenient  prac- 
tice to  give  to  eacli  a  separate  name,  according 
to  the  means  by  which  it  is  chiefly  called  into 
existence.  The  com])ined  forms  of  midriff  and 
of  rib-breathing  constitute  the  right   way,  and 


CHILD-VOICE  IN  SINOIXO.  83 

collar-boiio  breathing  is  totally  wrong  and 
vifious,  and  should  not  in  a  state  of  liealth  be 
nuide  under  any  circumstances.  ♦  "When  en- 
larging our  chests  ^  /  the  descent  of  the  midriff, 
we  inflate  our  lungft  where  they  are  largest  and 
where  consequently  we  can  get  the  largest 
amount  of  air  into  them.  When  expanding  our 
chests  l)y  raising  the  shoulders  and  collar-l)ones, 
we  inflate  the  lungs  where  they  are  smallest  and 
where,  conse(|uently,  we  get  the  smallest  amount 
of  air  into  theni.^  T/ie  criterion  of  correct  in- 
sjii  rot  ion  is  (oi  increase  <>f  size  of  the  ahdoinen. 
(UkJ  the  hnccr  2>'irt  of  the  chest.  W/ioeccr  (/rates 
ill  the  (thdomen,  and  raises  the  upper  part  (f  the 
chist  hreatJos  ■icronglij.''^ 

In  normal  breathing  the  body  at  inspiratii»n 
increases  in  girth  at  the  waist,  and  the  abilomeii 
nii'ves  slightly  outward  as  the  viscera  are  forced 
downward  by  the;  descent  of  the  dia{)liragm. 
'J'he  (liajdira^m  is  a  large  nniscle  which  serves  as 
a  j)artition  between  the  thoi'ax  or  chest-cavity 
and  the  alxlomen.  When  relaxed  its  middle 
portion  is  extended  upward  into  the  chest- 
cavity,  presenting  a  concave   surface   to   {\\<\   al>- 


84  CHILD-VOICE  IN  SINGING. 

domen.  At  inspiration  it  contracts,  descending 
so  as  to  assume  very  nearly  a  plane  figure.  At 
expiration  the  process  isrev^ersed,  the  diaphragm 
relaxes  and  the  abdominal  viscera,  released  from 
its  pressure  and  forced  by  the  abdominal 
muscles  which  contract  as  the  diaphragm  re- 
laxes, moves  upward  and  inward. 

This  kind  of  breathing  in  which  the  muscular 
contraction  of  the  diajihragm  calls  in  operation 
atmospheric  pressure,  supplies  the  body,  when 
tranquil,  with  nearly  or  quite  enough  air. 
When  for  any  reason  a  larger  quantity  of  air  is 
demanded,  it  may  be  secured  by  raising  the 
ribs,  thereby  increasing  the  chest-cavity. 

In  singing,  the  breath  must  be  managed  so 
that  the  air  passing  through  the  larynx  at  ex- 
piration shall  be  set  into  vibration  at  the  vocal 
bands.  Expiration,  then,  which  ordinarily  oc- 
curs very  quickly  must  be  retarded  by  slowly 
relaxing  the  muscles  which  contract  at  ins])ira- 
tion.  At  the  same  time  the  throat  must  be 
open,  and  the  nmscles  surrounding  the  resonance 
cavities  relaxed  to  allow  free  movement  of  the 
sound-waves  set  up  at  the  vocal  bands.      Any 


CHILD-VOICE  IN  SINOniG.  85 

upward  nioveineiit  of  tlic  shoiiklors  and  chest  at 
inspiration  involving  the  contraction  of  many 
powerful  inusck's  of  l)ack  and  neck  will  occasion 
a  stitTl'nin<r  of  the  throat,  which  prevents  free 
vihratii)!!  c»f  the  vocal  hands  and  serionsly  inter- 
feres with  the  ivsonance  of  tone. 

The  conclusion  of  tiie  whole  matter  is,  that  in 
singing  we  sliould  take  hreath  exactly  as  in  the 
ordinary  (piiet  resj)iration,  and  avoid  any  lifting 
of  the  shoulders.  This  is  at  least  enough  to  say 
to  a  class  of  children  upon  the  suhject. 

The  means  adopted  in  education  should  he 
as  simj)le  and  direct  as  possihle.  It  will  he 
found  unnecessary  to  say  very  much  ahout 
breathing  in  dealing  with  classes  of  children. 
In  the  first  place,  the  moment  the  suhject  is 
hroached  and  the  direction  ''take  a  good 
hreatli  "  or  a  similar  one  given,  each  child 
will  draw  up  the  v-he.  t  ami  shouldt.'rs  prepared 
for  a  mighty  elT<»rt;  while,  if  nothing  is  said 
ahout  it,  ])osition  alone  heing  attended  to,  the 
hreathing  will  he  all  i-ight.  And  again,  while 
adult  singers  for  various  rea.-ons,  oue  of  wliieh 
may    he  the    supp(tsition    that  the    more  energy 


86  CHILD-VOICE  IN  SINGING. 

put  forth  the  better  the  tone,  often  present 
themselves  to  the  voice-teaclier  with  a  fine  as- 
sortment of  bad  breatliing-liabits,  children,  on 
the  contrary,  are  sent  to  school  at  so  young  an 
age  that  a  little  watchfulness  on  the  part  of  the 
teacher  only  is  necessary  to  avoid  improper 
ways  of  taking  breath  and  establish  good  habits. 
If  young  children,  then,  are  not  permitted  to 
raise  the  Ghoulderfe,  they  will  perforce  breathe 
properly. 

It  seems  inadvisable  also  to  give  any  instruc- 
tion regarding  the  emission  of  air  from  the  lungs 
in  singing.  None  but  cultivated  singers,  after 
long  practice  and  tlirough  a  complete  command  of 
the  nniscles  concerned,  can  vocalize  all  the  air  at 
the  vocal  bands.  The  absolute  purity  of  tone 
which  is  thus  secured  is  a  result  that  may  or  may 
not  be  reached  in  any  particular  case.  It  de- 
pends upon  the  mental  and  physical  organization 
of  the  pupil  as  well  as  upon  the  method  of  the 
teacher. 

Exercises  which  are  adapted  to  the  formation 
of  good  breathing-habits  are  mucli  more  to  the 
point  in  practical  teaching  than  efforts  at  expla 


CHILD-VOICE  IN  SINGING.  87 

nation,  Tlierefore,  a  few  hints  arc  given,  wliicli, 
it  is  lioped,  may  be  of  practical  value,  for  it  is 
very  important  that  good  breathing-habits  1>€ 
formed  in  school  singing. 

Tlie  change  in  structure  which  the  larynx 
undergoes  at  ])u]'crty,  demolishing  as  it  does  the 
boy-voice,  and  rendering  of  no  avail  the  train- 
ing of  childhood  in  so  far  as  it  alTects  the  larynx, 
does  not  extend  in  its  eiTects  to  the  breathing- 
apparatus.  So,  a  habit  of  breath-management, 
good  or  bad,  formed  in  school  may  continue 
through  adult  life.  Special  breathing-exercises 
are  sometimes  recoimnended,  but  their  efficacy 
may  be  doubted,  even  if  the  length  of  time  de- 
voted to  the  nnisic  les.st)n  permits  them.  The 
inclination  of  pupils  in  such  exercises  is  to  raise 
the  chest  and  fill  the  lungs  too  full  of  air.  The 
result  is  too  much  air  pressure  at  the  vocal 
bands,  and  a  stilTcningof  throat  and  jaw  muscles. 
The  tone  then  will  be  loud  ;  in  fact,  strong  pressure 
of  air  at  the  vocal  bands  is  almost  sure  to  force 
tliem  into  the  fullest  vibration;  that  is,  into  tlie 
thick  register,  an<l,  as  a  result  of  contracted 
throat,  the  tone  will  be  |)inclied,  or  throaty.     It 


88  CHILD-VOICE  IN  SINGING. 

is  recognized,  however,  tluit  it  is  just  as  easy  to 
teach  good  habits  of  breatliing  as  bad. 

This  exercise  may  occasionally  be  given  :  The 
pupils  first  standing,  shoulders  well  set,  but  with 
no  pushing  out  of  chest,  ])lace  hands  at  the 
waist  so  that  the.  movements  of  normal  breath- 
ing may  be  felt.  Now  let  the  pu])ils  take  a  little 
breath  quicMij.  The  movement  at  the  waist 
must  be  outward  and  downward,  never  inward, 
at  inspiration.  The  breath  may  be  held  a  few 
seconds  by  keeping  the  waist  expanded — keep- 
ing an  imaginary  belt  filled,  for  instance — and 
then  let  go  by  relaxing  at  the  waist.  If,  how- 
ever, there  is  any  stiffening  of  the  throat,  as  if 
it  were  thought  to  cork  up  the  air  in  the  lungs, 
the  object  of  the  exercise,  iii  so  far  as  it  relates 
to  the  formation  of  good  breathing-habits  suit- 
able for  easy  vocalization,  is  defeated.  Every 
teacher  must  use  his  judgment  in  this  matter  of 
breath-management  in  singing.  If  pu2)ils  are, 
unguided,  using  correct,  easy  methods,  tliere  is 
then  no  need  to  interfere.  If  some  are  inclined 
to  take  too  nnich  breath  and  lift  the  shoulders, 
a  few   hints  may   put  them  on  the  right  track. 


CHILD-VOICE  ly  SL\Gh\G  89 

Lmul  tiiiKjiny  and  JmuJ  hreatldiKj-halnts  go  to- 
(jeiher.  If  the  first  is  desired,  the  hiiigs  must 
work  at  full  capacity,  and  Imrd  blowing  from 
tlu;  lungs  forces  the  voice.  On  the  contrary, 
soft  singing  ^-n. motes  <|uiet  habits  of  breathing; 
and,  if  the  pressure  of  air  at  the  larynx  is  mod- 
erate, soft  tone  is  })ossible.  If  thin,  soft  sing- 
ing alone  be  allowed,  (juiet  deep  breathing  will  be 
])ra(;ticed  instinctively. 

The  easy  control  of  the  muscles  whose  relaxa- 
tion })crmits  the  exhalation  of  air  from  the  lungs 
is,  as  already  said,  gained  by  their  })ro{)er  exer- 
"ise  in  speaking  and  singing,  for  the  same 
mechanism  is  called  into  operation  in  speech  as 
in  song.  In  childhood  the  hings  can  neither 
hold  as  much,  nt)r  retain  it  so  long  and  easily  as 
in  adult  life. 

There  is  no  better  way,  perha])s,  to  acquire 
the  ability  to  regulate  the  air-j>ressure  at  the 
vocal  bands  than  by  soft,  sustained  singing. 
Tlu!  '•continuous  tone"  described  in  a  preced- 
ing cbaptci-.  sccuri'd  in  scale  drill  by  letting  each 
child  breathe  at  will,  is  an  excelli'nt  exercise  for 
develoj)ing  good  breathing-habits.       As  there  it) 


90  CHILD-VOICE  IN  SINGING. 

no  nervous  tension  whatever,  each  pupil  will 
naturally  sustain  tone  until  the  need  of  another 
breath  is  felt,  when  it  will  be  taken  quickly  and 
the  tone  at  once  resumed. 

To  sum  u]) :  Sit  or  stand  in  good  position,  the 
chest  neither  pushed  out  nor  in  a  state  of  col- 
lapse. Avoid  any,  even  the  slightest,  upward 
movement  of  the  shoulders.  Point  out  the 
movements  at  waist  occurring  at  inspiration  and 
at  expiration  if  necessary,  not  otherwise.  Let 
the  breatli  be  taken  quickly,  not  too  mucli  at  a 
time,   and  as  often  as  need  be,  and  sing  softly. 

Attack. 

The  beginning  of  each  tone  is  called  attack. 
The  common  faults  of  attack  in  (•lass-sinirin<i' 
are  sliding  to  the  ])itcli  instead  of  striking  it  ac 
curately,  and  beginning  to  sing  with  the  mouth 
still  closed,  or  only  partly  (>])oii.  Wlien  tlie  at- 
tack presents  the  combined  etTects  of  these  two 
common  habits,  a  quite  reaHstic  caterwaul  is  the 
result. 

Both  faults  may  be  generally  overcome  or 
prevented  by  calling  attention  to  tliem.      Good 


CHILD-VOICE  IN  SINQISO.  91 

mental  iitteiition  is  tlio  most  iiifallihlo  cure  for 
slovenly  habits  of  attack.  It  may  be  that  tliere 
are  in  all  schools  a  certain  ])roportion  of  the 
pupils  who  have  very  weak  and  imperfi'ct 
vocal  organs;  in  their  cases,  even  good  attention 
cannot  overcome  physical  inability. 

In  repose  the  vocal  bands  are  separated  to 
allow  the  free  })assagc  of  air  to  and  from  the 
lungs.  At  ])honation  the  bands  are  drawn 
toward  each  other,  meeting  just  as  it  com- 
mences. There  need  be  no  preliminary  escape 
of  air.  Also  the  resonance  cavities  above  should  be 
open,  that  tlie  vibrations  generated  at  the  vocal 
bands  may  find  expansion  and  resonance.  Tiie 
mouth  and  throat  shc)uld  then  be  o[)ened  a 
moment  before  tone  is  attacked,  when,  if  the 
jtitch  to  be  sung  is  clearly  ])ictured  in  the  miiul, 
botli  the  "slide"  and  "  hum  "  will  be  avoided. 

Tone-  Fonnnt'wn. 

Heauty  of  tone  implies  absence  ».)f  disagreeable 
(jualitit's,  and  freedom  from  unpleasant  sounds. 
Faulty  toni's  are  called  nasal,  guttural,  palatal, 
throaty,  nudlle<l,  and  so  on,  the  peculiar  timbre 


92  CHILD-VOICE  IN  SmGINQ. 

of  eacli  sug<^estiiig  the  name.  If  the  throat  h 
relaxed,  and  if  the  soft  parts  of  tlie  vocal  tube 
Ijiiig  between  the  larynx  and  the  teeth  are  kept 
out  of  the  way,  most  of  tlie  disagreeable  quali- 
ties of  voice  enumerated  disappear.  Certain 
requisites  are  necessary  to  good  tone-formation. 

First,  a  movable  lower  jaw. 

It  is  astonishing  that  so  many  of  young  and 
old  will,  when  they  wish  to  open  the  mouth  for 
song,  try  to  keep  it  closed.  Paradoxical  as  the 
statement  is,  it  nevertheless  describes  a  very 
common  phenomenon — the  "  fixed  jaw,"  it  may 
be  called.  As  soon  as  the  teeth  are  parted 
slightly,  the  nuiscles  of  the  face  and  neck  which 
control  the  movement  of  the  lower  jaw  con- 
tract, holding  it  in  a  fixed  position,  and  iuci- 
ilentally  tightening  the  muscles  of  the  throat 
until  the  larynx  is  in  a  grip  as  of  rubber  bands. 
The  mouth  nuist  not  be  held  open  as  if  the  jaws 
were  pried  apart.  It  is  opened  by  the  relaxa- 
tion of  the  closing  muscles  and  should  hang  by 
its  own  weight,  as  it  were.  If  tlieu  the  lower 
jaw  drops  easily,  and  with  no  acconqianying 
muscular  contraction  of  face  or  throat,  the  tone 


CHILD-VOICE  IN  SINGING.  9.? 

may  be  formed  or  sluijied  well  forward  in  tlie 
mouth,  unless  the  soft  parts  referred  to  oh- 
struct  it. 

These  soft  parts  arc  tlie  tongue  and  the  soft- 
palate.  The  soft-palate  is  a  structure  which 
liangs  from  the  posterior  edge  of  the  hard- 
palate.  The  uvula,  the  pillars  of  the  })alate, 
and  the  tonsils  are  parts  of  the  structure. 

The  tongue  which,  when  the  mouth  is  closed, 
nearly  tills  it,  should  in  vocalization  lie  as  much 
out  of  the  way  as  is  possible.  If  the  tip  be 
pressed  against  the  lower  teeth  and  its  sides 
upon  the  molars,  it  foi-ms  a  floor  to  the  cavity  of 
the  mouth.  If  the  tip  turns  toward  the  roof  of 
the  mouth,  or  if  it  is  drawn  back  and  uiuler,  so 
as  to  arch  the  tongue,  tone  is  seriously  inter- 
fered with,  while  if  the  root  of  the  tongue  is 
drawn  backward,  the  tone  is  shut  in. 

Jf  the  soft-j)alate  is  not  raised  in  singing,  the 
tone  is  diverted  into  the  cavities  of  the  nose, 
and  that  color  given  to  the  tone  called  nasal. 
If  the  lower  jaw  is  held  too  high,  the  tone  is 
again  foi'ccd  tlii'ough  the  nose.  A  nasal  (juality 
can   be    modititMJ    by  oj>ening  the  mouth.      Tho 


94  CHILD-VOICE  IN  SINGING. 

muffled  voice  is  sometimes  tlie  result  of  the 
tongue's  unruly  behavior.  The  throaty,  pinched 
voice,  due  to  a  stiff  and  pinched  throat,  will 
hardly  appear  if  good  conditions  as  regards 
position,  breathing,  soft  tone,  open  mouth,  etc., 
are  maintained.  The  tone  should  not  be  swal- 
lowed nor,  on  the  other  hand,  blown  out  of  the 
mouth.  It  should  be  formed  in  the  mouth  and 
kept  vibrating  within  it.  When  the  right  con- 
ditions are  hit  upon,  the  tone  seems  to  sing 
itself.  Whether  soft  or  loud,  the  tone  should 
fill  the  mouth,  so  to  speak. 

It  must  now  be  remembered  that  beauty  of 
tone  improves  along  with  growth  of  thought  and 
feeling.  Encourage  discrimination  in  tone- 
quality  and  help  in  any  way  advisable  the 
growth  of  good  ideals,  and  verily  shalt  thou  be 
rewarded. 


CHAPTER  VI. 

VOWELS,    CONSONANTS,     AUTICULATION. 

OOrXD-VTBPtATTOXS  gejierated  at  the 
larynx  are  moditied  as  to  tlieir  form,  by 
the  size  and  shaj>c  of  the  resonating  cavities  of 
tlie  nioiitli  and  pliarvnx,  Throngh  tlie  move- 
ments of  tlie  soft-palate,  tongue,  lower  jaw  and 
lips,  the  shape  and  size  of  the  month  can, 
within  certain  limits,  l)e  changed  at  will.  As 
every  vowel-sonnd  requires  a  peculiar  form  of 
the  resonating  cavity  for  its  production,  it  will 
he  easily  understood  tliat  each  vowel-sound  of 
which  the  human  voice  is  capable  can  be  made 
by  a  proper  adjustment  of  the  movable  parts  of 
the  vocal  oi-gans.  As  all  singing-tone  is  vocal 
oi'  Vowel  in  its  cliaract(>r,  the  production  of  the 
vai'ious  \-owel-sounds  takes  ])recedence  in  tlie 
studv  of  vocal  mu>ic.  Just  how  much  of  this 
study  can  be  carried  on  in  school  music  will  de- 
pend upon  circnn.istances,  the  chief  of  which  is 
the  time  assigned  for  music.  It  is  very  easy  to 
buggi'>t  that  if  the  time  given  is  not  enough,  that 
1)5 


96  CHILD-VOICE  IN  SINGING. 

longer  lesson  periods  be  demanded ;  but  it  is 
quite  probable  that,  owing  to  the  pressure  of 
elaborate  courses  of  study,  tlie  recjuest  would  be 
seldom  granted.  It  remains,  then,  for  those  in 
charge  of  school  music  to  expedite  their  work  bj 
means  of  simple  and  direct  methods. 

Each  division  of  the  music  work  nmst  bo 
carried  so  as  to  secure  unity  of  result.  The 
vocal  drill,  oral  or  written,  will  train  the  eye 
and  ear  for  sight-singing,  and  the  sight-singing 
be  a  practical  application  of  correct  vocal  drill. 

The  study  and  pi-acticc  of  the  different  vowel- 
sounds  must  then  jit  in  with  the  scheme  of 
study.  The  practice  of  singing  the  vowels  by 
name  as,  ^r,  «^,  /,  o^  i*/,  is  not  to  be  recommended, 
as  only  one,  namely  '',  stands  for  a  single  sound- 
element;  nor  is  it  probable  that  the  results  will 
justify  extensive  (h'ill  upon  the;  more  obscure 
vowel-elements,  if  the  term  may  be  applied  to 
those  Sounds  which  are  diiferentiated  only 
slightly  from  tht3  nioi'c  })i'onounced  vowel- 
sounds. 

Thei'C  are  some  twenty  vowel-sounds  that  are 
used  in  Eni;lish  s])eech,  but  f()r   various  reasons 


CHILD-VOICE  IN  SINUINQ.  OT 

a  lops  nniiil)or  are  employed  in  sonjij.  For,  wliile 
it  is  (lesii'ul)le  to  t:;ive  to  each  word  and  syllahle 
its  coi'rect  vowel-sound  in  sinij^ini:;,  those  which 
ire  unfavorable  to  <z:ood  tone  are  usually  approx- 
imated to  the  iiound  of  those  more  favorable  to 
Ljood  tone. 

If  too  marked  distinctions  in  the  vowel-sounds 
are  made  hy  the  singer,  the  result  is  disai^ree- 
ahle;  while  if  the  voice  })reserves  a  similar  hue 
or  tone-colur  tlii"oui;hout,  the  elfect  is  pleasiiii::. 

The  li>tenci"  is  unaware  of  tlu;  sli^^ht  devia- 
tions fiMiu  the  sj>oken  vowel-sound  wliich  tlie 
sinu'er  makes,  that  th(3  ie(piirements  of  tonal 
beauty  may  l>e  met. 

It  is  aiixisabK;  i;.  vowel-practn't  to  avoid 
letters  or  symbdls  V.  nich  I'epi'esent  two  sounds, 
an  initial  and  a  \anish  ;  ami  to  use  simpU'  vowe. 
t'leiiH'Ht^  in.-tead.  The  combiiiatioiis  df  dilh'i-ent 
elements  repre-eiited  by  certain  lettei's  and  diph- 
tlmii^.-,  may  ea-ily  be  e.\plaine(l  when  they  ap- 
]iear  in  the  Word.-  .,f  a  xinu",  if.  indeed,  the  study 
of  pliMiiio  ha>  ]\nf  aliH^aily  '-leared  away  all  ditli- 
eiill  ies. 

In  .-ingiM;^-,  ]iowe\er,  ii",  is  necessary  to  under- 


98  CHILD-VOICE  IN  SINGING. 

stand  which  of  the  two  sounds,  tlie  initial  or  the 
vanisli,  is  to  bo  sustained.  In  «,  for  instance, 
wliicli  is  eJi  he,  if  the  vanisli  e  is  sustained  in  a 
word  like  day  the  effect  is  deh  ee.  The  first 
sound  should  be  sustained,  and  the  vanish  e  be 
lieard  only  sliij^htly  as  the  iiiontli  })artly  closes  at 
the  end  of  the  tone.  1,  again,  which  is  equiva- 
lent to  ah  +  e,  is  often  sung  by  prolonging  tlie  e 
instead  of  the  initial  ah,  as  llr/ht — li-eet.  O'ib'a 
compound  sound  d-\('jd,  but  the  tendency  to  sing 
the  first  sound  sliort  and  prolong  the  second  is 
very  slight  usually.  O,  then,  can  be  used  to 
represent  a  sini])le  element.  U,  which  e({uals 
e-hoo,  is  best  sung  by  making  the  initial  sound 
short  and  the  vanish  the  longer  tone. 

It  will  thus  1)0  seen  that  of  the  five  vowel 
names,  a,  e,  ^,  o,  u,  e  only  stands  for  one 
sound,  though  the  two  sounds  of  o  are  so  closely 
allied  that  the  vanish  is  often  imperceptible. 
The  sound  of  a  in  at  is  the  most  unfavorable 
sound  for  song  in  the  language,  and  those  ex- 
tremely consistent  singers  who  wish  to  use  it  can 
do  so. 

The  nasal  twang  of  Yankeedom  is  a  plant  that 


CHILD-VOICE  IN  SINOIXO.  99 

needs  no  nonrisliiiiii^.  Its  roots  are  grown  wide 
and  deep;  so  imich  so,  tliat  those  wlio  love  it 
need  not  fetir  that  it  will  pine  away  and  die,  if 
it  bears  no  fruit  of  song,  but  only  that  of  speech. 

The  sound  of  a  will  survive  even  if  it  is  un- 
used in  song.  It  sliould  in  singing  be  broad- 
ened nearly  to  the  sound  of  (th. 

A   number  of  simple  elements  are  suggested 

which   may   be   used  in   various   ways   in    vocal 

a" 
drill.     Tliey  are  <"',  i,  e,  a,  a,  o,  oo.      Or  c  (  Jis 

A 

in  it),  %  (as  in  vV),  c//,  ah^  aa%  0  (as  in  go)^  oo. 
The  V(»wel-element8  remaining  are  each  so 
closely  allied  to  some  of  those  indicated  that  the 
attempt  to  dilferentiate  them  from  tlie  above 
in  voWL'l-(]rill  is  hardly  worth  while.  In  fact, 
the  use  of  1 — /  as  in  it — may  be  omitted  if  j)U- 
pils  have  leai'ne(l  to  sing  e  with  fair  breadth  of 
Sound,  iind  oo  may  be  dropped  in  grades  above 
the  j)i-im;ii-y.  It  is  the  final  sound  of  /7,  as  before 
said.  This  leaves  live  vowt;l-elements. 
E. 
Tliis  vowel  is  often  badly  sung,  and  its  form 
is  none  too  fa\'(ii"ab]e  to  goo(l  tune  even  when 
made  as   lar^-e  as  distinctness  will  allow.      The 


100  CHILD-VOICE  IN  SINGING. 

lips  must  be  drawn  a  little  away  from  the  teeth 
as  in  a  smile,  hut  doiiH  overdo  it^  and  the  teeth 
slightly  parted.  The  lips  should  not  be  drawn 
back,  exposing  the  teeth  and  gums,  nor  should 
they  be  contracted  and  })resscd  against  the 
teeth.  In  e  and  in  all  vowel  singing  the  lips 
sliould  he  relaxed,  not  contracted,  and  kept 
about  as  far  from  tlie  t(!cth  as  they  are  in  re- 
pose. If  the  opening  of  the  mouth,  that  is,  if 
the  cavity  back  of  the  teeth  is  ke])t  too  small 
and  narrow,  the  tone  will  l)e  nasal  and  twangy. 
The  mouth  nmst  l)e  opened  enough  to  pci'init 
purity  of  tone  and  free  emission.  The  sound 
should  verge  toward  i  in  it. 
I. 
This  sound  is  e  broadened.  The  teeth  maybe 
a  little  farther  a})art  than  when  e  is  sung. 

K  or  KIT. 
Tliis  is  the  sound  of  e  in  tlie  word  get.  It  is 
also  ihe  initial  sound  of  tlie  vowel  a  or  long  a. 
It  is  tru(!  that  this  sound  is  not  usually  so  given, 
t)ut  if  a  is  sung  with  this  sound  as  its  initial 
*ound,  an<l  the  one  to  he  ])rolongt'(1,  the  very 
hest  vocal   results  can  ])e  obtained       Tlu'  >'"\v(>) 


CHILD-VOICE  IN  SINGING.  101 

d  is  more  often  poorly  sung  than  otlierwnse. 
Thi.s  is,  perhaps,  for  the  reason  tluit  compara- 
tively few  singers  recognize  that  long  a  stands 
for  two  sounds,  and  that  the  first,  which  may  be 
s])elled  i/i,  can  he  sung  with  large  form  and 
j)laced  well  forward  in  the  mouth,  wlnle  the 
second  sound  P  is  small  in  form,  and  not  arlapted 
to  the  finest  tone-effects.  In  singing  this 
element,  tlic  jaw  should  droj)  much  lower  than 
for  I  and  nearly  as  low  as  for  ah. 
A  or  AIT. 

This  is  the   tone  universally   accepted  as  the 

best  for  voicc-(ie\cl(>iiiiu'nr ;  hut  in  scliool-sing- 
iiiL(  it  is  not  jM'niii»ilil('  to  use  tlic  voice  except 
in  the  lightest  manner,  thci'efore  purity  of  tone 
nin>t  cniitent  our  amhitioiis;  [)ower  can  come 
latci-  in  life.  The  mouth  opens  widely  for  this 
tone  and  the  whole  throat  is  expanded. 
A  or  A  W. 
This  element  is  I'ormcil  very  nnich  like  ah. 
It  is  (//i  l)i-oadene<l  ;i  little.  The  jaw  drops  to  a 
lower  point  and  the  niouth-eavity  deepens,  while 
at  the  same  time  the  extension  from  side  to  side 
narrows  a  little. 


202  CHILD-VOICE  IN  SINGINO. 

0  and  00. 

These  sounds  are  better  adapted  to  securing 
tlie  use  of  the  thin  voice,  where  pupils  have 
heen  accustomed  to  the  use  of  the  tliick  voice, 
tlian  any  otlier  vowel-element.  The  month  is 
well  opened  buck  of  the  li})s,  which  should  not 
1)0  puckered  as  if  to  whistle,  but  relaxed  instead. 

In  actual  practice  there  may  be  observed  a 
tendency,  more  or  less  marked,  but  pretty  sure 
to  manifest  itself  if  practice  on  one  sound  is  con 
tinned  too  loni^  at  a  time,  to  deviate  from  any 
one  toward  some  other  vowel-element,  as  I  to  e, 
eh  to  I,  ah  to  er  or  er  or  iih,  ato  to  uh,  o  to  oo. 

If  this  tendency  to  deviate  from  the  right 
tone  be  permitted-  the  most  slovenly  habits  will 
be  formed,  and  ah.  distinctions  in  vowel-sound 
disappear.  Vowel-practice  had  better  be 
(nutted  from  class- won:  'unless  carefully  and 
ccnscientiously  taught. 

If  the  course  of  music  eml)races  drill  upon 
scales,  vowel-practice  may  be  Micorporated  into 
the  course  easily.  For  instance,  the  drill  out- 
lined upon  [)  70  may  one  day  be  given  with  e 
for  a  few   moments,  then  with  j.      On  another 


CHILD-VOICE  IN  SiyOIAG.  lOa 

day  the  drill  may  l)c  upon  a/i,  followed  by  e/t, 
and  so  on.  It  is  unnecessary  to  particularize- 
Kvery  teacher  will  at  once  see  how  to  apply 
practically  vowel-singing  to  his  music  course. 
The  exercises  and  songs  may  be  sung  with  vowel- 
sounds.  Nearly  all  books  advise  the  use  of  la, 
'(»,  etc.,  t>i  vocal  exercises;  but  while  that 
method  of  singing  is  unobjectionable,  the  vocali- 
zation (»f  solfegi^ii,  it  may  be  observed,  is  estab- 
lished by  the  sanction  of  time  and  the  experience 
of  thousands  of  voice-trainers  the  world  over. 

The  advantages  which  ilow  from  vt)calizing 
exercises  and  songs  on  a  single  vowel-sound  are 
too  many  to  be  described  in  a  word.  No  su))er- 
vist>r  or  tcaclu'r  of  nnisic  can  afford  t. ■  use  ^/(>, 
r'',  ////',  i'\chi>ivi'ly. 

Anothei'  class  (>f  exercises  is  tiow  suggested 
whi;'h  may  \tv  sung  upon  one  bi-cath.  They  will 
be  found  e.-oecially  uilapttMl  to  dexelop  flexihilitv 
an;]  a  i-cady  ad ju-riiiciit  t»f  the  movjible  j)arts  of 
the  \(>cai  tube  to  the  positions  suiti'fl  to  the 
foi'tnation  of  the  dilTereiit  vowel-sounds  If 
llii-ce  .-ouiids  arc  u>ed  as  liei-e  i;-i\-en,  the\-  nmst 
lie  -^UMg  ipiire  slow  ly,  the  change  from  one  sound 


104  CHILD-VOICE  IN  SINGING. 

to  the  next  being  made  by  a  quick,  easy  change 
of  position  of  tlie  jaw,  tongue,  etc.,  but  without 
interrupting  the  continuity  of  tlic  tone. 

Sufficient  pause  to  oI)tain  a  new  breath  must 
be    made  at    the   end   of    each  group,  and   the 
moutli   opened  properly  for   tlie  production  of 
the  first  sound  of  the  next  group  before  it  is  at 
tacked.     The  tune  should  be 


1=^^- 


;>-^-=t 


i 


«>  -^  e  o 
quite  slow  and  as  in  illustration,  or  tlie  breath 
M'ill  not  be  used,  and  at  each  succeedmg  group 
of  tones  tlie  lungs  will  become  too  full  of  air. 
The  attack  will  then  be  explosive,  and  the  tone 
too  loud,  if,  indeed,  the  effort  to  control  die 
breath  does  not  contract  and  pinch  the  rliroat. 

Eiglit   groups  are  given  for  ascending  'i  scale 
And  eiirlit  for  descendinij: : 


o 

e 

o 

•) 

e 

1 

0 

1 

0 

0 

e 

oo 

0 

ah 

0 

0 

ah 

e 

0 

eh 

0 

0 

ah 

eh 

0 

aw 

0 

0 

ah 

aw 

0 

e 

eh 

0 

ah 

i 

0 

0 

ah 

0 

ah 

oo 

0 

e 

uw 

o 

eh 

e 

VJIirJ)-VOICE  IN  SlNGlXa.  105 


It  will  l>e  observed  that  a  eertaiii  system  of 
arraiii!:eiiieiit  of  the  vowel-eleiiu-nts  is  followiMl. 
First,  there  are  live  u'l-oiips,  of  which  o  is  thd 
lirst  and  last  sound,  the  others  heiui,^  ])laei'(l  be- 
tween. Then  c  is  the  first  tont'  with  >'  as  the  second, 
the  other  sounds  in  turn  endini;-  the  u'roup. 
Next  (f/i  is  tlie  st'cond  s(»und,  then  r/t,  /,  no  and 
a/i  niij::ht  he  used  as  the  second  vowcl-elenient, 
niakin<r  thii'ty-iivc  cond)inations  with  o  as  the 
iiutial  souiul  of  each  ^-rouj).  The  same  mimher 
of  combinations  can  be  made  witli  (f/i  as  the  fir>t 
titne,  and  so  on  witli  each  of  the  seven  vowcl- 
elemcnts. 

Sixt<'cn  of  these  a'roujjs,  chan<j;cd  from  time 
t(t  time  as  mav  lie  de>ired,  can  be  writren  upon 
the  blackboard  and  suui;-  by  the  class  in  the  wav 
set  forth,  the  teacher  meanwhile  ket'pinu-  time 
for  and  dii-ectiiiu'  'he  class. 

It  may  be  oi»er\-ed  in  this  connection,  that,  as 
the  voice  a,-'-eiids  in  pitch,  there  is  a  teiidencv 
to  IiIcikI  the  \ai"ious  \o\vej-sounds  into  one 
sound.  .\s  the  tiiues  i;-i'o\v  Iii^^-Jiei-  the  sound- 
waxes  are  focused  at  higher  points  ujxiii  the 
hai-d-palale,   the  soundiuir-board  of  the  i-esonance 


lOG 


CHILD-VOICE  IN  SINOING. 


cavities,  and  more  difficulty  is  experienced  in 
moulding  these  sound-waves  into  the  forms 
characteristic  of  the  diiferent  vowel-elements. 
As  the  parts  concerned  in  tone-formation  gain 
in  llexil)ilitj,  the  result  appeal's  in  the  ease  with 
which  the  alterations  in  shape  of  the  resonance 
tube  are  made  at  higher  pitches. 

Fads  and  devices  which  divert  attention  from 
the  subject  and  i-etard  rather  than  accelerate  the 
j)r()gress  of  ])upils  are  common  enough  in 
schools,  l)ut  the  following  sim})le  illustrations  of 
diiferent  vowel-forms  niav  be  found  useful: 


ah 


eh 


o  Oo 


o 


aw 


00 


The  base  line  i-epresents  the  floor  or  base  of 
the  month-cavity,  and  tiie  arch,  the  height  and 
width  of  tlie  moutli  for  each  sound;  the  de])th 
is  not  indicated.     The  width  of  the  mouth  from 


CHILD-VOICE  IN  SINGING.  107 

side  to  side  is  i-cpresented  as  j:;rc'atcst  in  <".  /  and 
ch,  while  tl;e  lieii^lit  is  <;reater  in  ah  and  am^  o 
is  pictured  as  nearly  round,  and  oo  the  same, 
only  small. 

It  is  not  contended  that  these  diagi-ams  pict- 
ure the  actual  form  assumed  by  the  resonance 
cavities  very  accurately.  The  various  positions 
which  tiie  tongue  and  the  soft-inviate  assume 
are  not  shown  at  all,  nor,  perhaps,  is  it  necessary; 
foi-  it'  the  pu{)il  is  taught  to  dro])  the  lower  jaw 
to  the  riglit  position  for  each  sound,  and  to  keep 
the  tongue  ])rone  in  the  mouth,  a  mental  picture 
of  each  tone  will  be  formed,  and  the  thought  will 
regulate  the  action.  When  the  ]Mipil  can  think 
the  sound  desii-ed,  tiie  conditions  for  its  forma- 
tion will  be  met  by  the  vocal  oi-gans.  The  use- 
fulness of  diagi'ams  will  then  cease. 

Cons(ni((iif''<  (I nil  Ai'tJt'uhition. 

''Consonants  ai-e  the  bones  of  speech.  i>y 
means  of  consonants  we  articulate  our  woi'ds; 
that  is.  wo  give  tlicm  joints.  ^Vc  utter  vowels, 
we  articulate  (-(insoiiants.  If  we  utter  a  single 
vowel-sound  and   interrupt  it  by  a  consonant,  we 


108  CHILD-VOICE  IN  SINGING. 

get  an  articulation.  Consonants,  tlien,  not  only 
give  speech  its  articulation  or  joints,  but  they 
help  words  to  stand  and  have  form,  just  as  a 
skeleton  keeps  the  animal  from  falling  into  a 
shapeless  mass  of  flesh ;  therefore,  consonants 
are  the  bones  of  sjuK'ch.  The  consonant  is  the 
distinguishing  element  of  human  speech.  INIan 
has  been  dehned  in  various  ways  according  to 
various  attributes,  functions  and  habits.  lie 
might  well  be  called  the  consonant-using  animal. 
He  alone  of  all  animals  uses  consonants.  ft  is 
the  consonant  which  makes  the  chief  (Hll'crc.'iice 
between  the  cries  of  beasts  and  the  speech  of 
man." — liicliard  (J rant   WJiltc. 

Consonants  are  not  to  be  sung.  The  eft'ort  so 
common  among  singers  to  j)roiiounce.  by  sustain- 
ing consonant  sounds,  is  entirely  misdii'ecte*!. 
J/,  n  ami  tkj.  which  are  made  by  shutting  off 
the  esca])e  of  the  air-current  at  eitiier  the  lips  oi- 
the  hard-palate,  and  so  forcing  it  tlirougli  tlie 
nose,  are  often  sustained  to  the  detriment  ot 
beauty  of  tone  and  (dear  pronnnciation  as  \\(A\. 

Articulation,  \\liicli  is  the  ])r(>nuiiciation  of  a 
consonantal  sound,  i-  acc()iiiplished  by  interrupt- 


CHTLD-VOICE  IN  SINGING.  100 

'v^i:^  tlio  air-cnrront,  wliotlier  vibratory  or  not,  at 
(•(M'taiii  j)( tints.  Tlio  interruptions  arc  made  by 
tlie  meetini;  of  the  lips  witli  eacli  other  or  witli 
the  teeth,  l)y  tlie  tonLjnc  with  the  teetli  or  liard- 
palate,  an<l  tlie  root  of  the  tonij^ue  with  the  soft- 
])alate.  The  interrui)tion  may  be  complete,  as 
in  />  or  f,  or  only  jiartial,  as  in  f/i.  The  sound  of 
the  consonai't  results  from  the  sli<i;ht  exjtlosion 
or  pult"  which  follows  the  recoil  of  the  movable 
])arts  from  the  j)oint  of  contact. 

All  consonants  may  for  sin^inii;  j)urposes  l)e 
considered  as  [)rece(liiiii'or  followinu'  some  vowel- 
sound.  If  precediiiii',  then  after  the  soun<l  is 
made  the  vocal  organs  nuist  be  adjusted  at  oiu'c 
foi-  the  propel'  foi'iuatioii  of  thesucceediiu:;  vowel. 
If  the  consonant  sound  follows  a  vowel-tone, 
the  niovciiieiit  of  the  vocal  or<4'ans  to  the  iiiter- 
niptiiii;-  ])i»int  must  be  (piick  and  vocalization  at 
once  cease;  for  if  the  \-owel-sound  is  jtrolonijed 
after  the  production  of  the  consonant,  tlii'  elVcct 
will  be  an  added  syllable  to  the  word  as  <if-<(t-<  i\ 
iij>-itj)-ji(ih^  '■tc.  The  iiioNcments  of  the  ori;-an> 
>i   speech    for   i)otli    contact   and  reroil  must   bt' 


110  CHILD-VOICE  IN  SINGING. 

more  rapid  in  singtng  to  produce  distinct  articu- 
lation than  in  spoken  language. 

Slovenly  habits  of  articulation  in  speech  will 
reappear  in  song,  and  the  converse  is  also  true. 
The  study  and  practice  of  phonics,  which  is  now 
general  in  schools,  is  of  the  highest  practical  im- 
portance in  singing,  as  well  as  in  reading  or 
speaking.  As  consonant  sounds  cannot  be  sung, 
they  are  best  taught  in  spoken  language.  The 
application  of  the  knowledge  and  skill  thus  gained 
is  readily  a])plied  to  the  pronunciation  of  words 
in  singing.  If  the  vowel-elements  have  been 
carefully  practiced  in  vocalizes,  there  will  be 
little  effort  required  to  secure  the  correct  forma- 
tion of  all  the  vowel-sounds  of  words. 

The  nasal  twang  nmst,  however,  be  ruthlessly 
suppressed.  As  before  suggested,  this  will  fre- 
fpiently  a])})ear  in  words  coiitaining  the  sound  of 
(I,  as  in  at,  past,  fad,  etc.  It  is  recommended 
that  such  words  be  sung  Avith  a  as  in  fatJier,  or 
if  not  quite  as  broadly,  at  least  approaching  the 
sou 7 id  of  ah. 

If  the  movements  of  the  vocal  organs  are  quick, 
flexible  and   without  muscular  tension  or  stilf- 


CHILD-VOICE  IN  SISaiSG.  Ill 

iiess,  and  if  tlie  nioutli  opens  ncitlRT  too  nuicli 
nor  too  little  for  each  vowel-son nd,  words  may 
1k'  snnii^  and  understood  while  beauty  of  tone  u 
not  tiacriticed. 


CHAPTER   VII. 


MUTATION    OF    THE    VOICE. 


"  I  ^IIE  anatoniical  and  physiological  changes 
which  occur  in  the  larynx  at  puberty 
have  been  described  in  the  chapter  on  "  Physiol- 
ogy of  the  Voice."  It  may  be  added  that  at 
this  period  the  resonance  cavities  also  undergo 
considerable  alteration  in  size  and  form. 

As  childhood  is  left  behind  the  individual 
emerjjes.  Diverijences  in  face,  in  form  and  in 
mental  characteristics  become  emphasized.  The 
traits  of  race  and  family  are  manifested  and  self- 
consciousness  becomes  more  acute.  This  period 
of  development,  bi-inging  as  it  does  so  much  dis- 
turl)ance  to  the  vocal  organs,  is  particularly  in- 
imical to  singing;  and  yet  public  school  music 
is  expected  to  produce^  its  most  elaborate  results 
in  those  grades  where  the  pupils  are  just  about 
to  enter,  or  are  passing  through  this  period  of 
raj)id  growth  and  cliange.  The  singing  in  such 
grades  may  be  discussed  with  reference  lirst  to 
tlie  singing  of  girls  and  then  to  that  of  boys, 

113 


CHILD-VOICE  IN  SINGING.  li:] 

The  vocal  organs  of  girls  often  develop  so 
gradually  in  size,  and  with  so  little  congestion  of 
the  laryngeal  substance,  that  no  aversion  is  mani- 
fested to  singing.  In  other  cases  the  intlatned 
condition  of  the  vocal  organs  is  shown  by  the 
hoarseness  winch  follows  their  use,  and  the 
huskiness  of  tiie  singing-tone.  The  vijices  of 
nearly  all  during  the  nnitation  })eriod  show  more 
volume  of  tone  on  the  lower  tones  and  evidences 
of  strain  at  the  higher  tones. 

It  is  a  good  plan  to  })ut  girls  who  show  throat- 
weakness,  characteristic  of  their  age,  upon  that 
part  which  reipiires  only  a  medium  range  of 
tones,  and  to  repress  all  inclination  to  force  and 
pusji  tlie  voice.  The  desire  wliich  girls  often 
express  to  sing  tlie  u[)pcr  soprano  need  not  alfect 
the  teacher  to  any  great  extent.  A  nmltitude 
of  strong  and  constantly-shifting  ambitions  are 
thronging  through  their  minds.  Some  M'ish  to 
sing  the  highest  ])art  bccau>^  it  seems  to  them 
to  be  the  most  prominent  pai't ;  some  wish  to 
sing  it  because  they  can  i\o  so  with  the  least 
mental  etl'ort,  and  so  on.  'J'hese  wliims  and 
wishes  must  be  treated  tactfully,  but  if  the  teacher 


114  CHILD-  VOICE  IN  SINGING. 

is  sure  that  a  certain  course  is  Hglit,  there  is  no 
alternati\'e  but  to  carry  it  out,  with  as  little  fric- 
tion as  may  be.  Large  voices,  that  is,  voices 
that  proceed  from  large  resonance  cavities,  are 
often  badly  strained  at  this  period  of  life  l>y  too 
loud  and  too  high  singing.  It  must  not  for  a 
moment  be  forgotten  tliat  the  age  is  a  critical 
one  for  vocal  effort,  and  a  strain  that  the  adult 
woman's  voice  will  endure  with  apparent  im- 
punity may  produce  lasting  evil  effects  on  the 
voice  of  a  girl  of  from  fourteen  to  sixteen  years 
of  age. 

If  the  recjuirementsof  the  music  are  such  that 
pitches  above  V,  the  tii'tn  line  (i  clef,  nnist  lie 
occasionaL'y  sung.  let  ine  voices  upon  the  jiart 
ein^  lightly.  If  some  of  the  gii-ls  are  ])ut  uji(tn 
the  lower  of  rhi-ee  jjai-ts,  do  not  let  them  use  the 
shest-vdice.  which  is  just  l)eginning  to  develo]). 
otherwise  than  lightly  also. 

The  boy's  voice  may  ciiange  from  the  so])i'an(t 
to  a  light  bass  ^'f  eiuiit  <>!•  twelve  tones  in  com- 
pass in  a  iev\-  month.-,  or  the  change  may  extend 
over  two  or  tliree  yeai's;  that  is,  two  or  three 
years  may  elaj)>e  after  the  first  distinct  break  be- 


CHILD-VOICE  IN  SINGING.  115 

fore  there  is  any  certainty  of  vocal  action  in  the 
newly-acquired  compass.  When  the  voice 
(•han<j^e.s  ra])i(lly.  all  siui;ing  should  he  stop])ed. 
Ileally,  in  .such  cases,  boys  cannot  sing  even  if 
they  attempt  to  do  so. 

They  are  so  hoarse,  and  the  ])itch  alternates 
so  uiu'X})ectedly  between  an  "unearthly  treble 
and  a  preternatural  i)ass"  that  a  boy  can  usually 
sing  oidy  in  monotone,  if,  with  courage  proof 
against  tlie  ridicule  occasioned  l)y  his  uncontr<.»I- 
lablf  \d('al  antics,  he  trvs  to  join  in.  In  those 
cases,  wlieiH'  the  lai"vn\  undergoes  a  slow  change 
in  i:r<iwth.  it  is  often  possible  for  the  boy  to 
sing  all  through  the  period  of  change.  The  upj)er 
tones  may  be  lo>t,  while  there  is  a  corres[)onding 
gain  of  lower  tones.  This  })rocess,  in  many  cases, 
go(,'s  on  >lnwly  and  with  so  little  active  conges- 
tion of  the  iaiTUX  that  the  voice  changes  fi'om 
soj»raiio  to  alto,  and  thence  to  tenoi'  almost  im- 
per(H']»til»ly.  \'oices  which  change  in  this  way 
ott<'U  become  tenor,  but  not  in\ariablv. 

The  (jue^tioii  now  arises.  Should  tlmsc^  bovs 
who  can  >ing  while  the  voice  is  bi-eakiiig  be  re- 
i^uired  to  take  [)art  in  school  singing  exercnse.-  ? 


r  16  CHILD-VOICE  IN  SINGINO. 

In  Browne  and  Behnke's  work,  "  Tlie  Cliild- 
Voice, "  to  wliicli  allusion  has  been  made,  there 
is  given  a  resume  of  1;")2  replies  to  the  question : 
Have  you  ever  known  of  boys  being  made  to 
sing  through  the  i)eriod  of  puberty,  and,  if  so, 
with  what  result  V 

The  answers  were : 

P"'orty  correspondents  have  no  knowledge. 

Five  think  the  voice  is  improved  by  the  ex- 
periment. 

Ten  quote  sol/tar//  instances  where  no  harm 
has  arisen. 

Ten  know  of  the  experiment  having  been 
made,  and  consider  it  has  caused  no  harm  to  the 
voice. 

Eight  mention  results  so  variable  as  to  admit 
of  no  conclusion. 

Seventy- nine  say  the  experiment  causes  cer- 
tain injury^  deterioration  or  ruin  to  the  after 
voice,  and  of  this  number  ten  ol)serve  that  they 
have  suffered  disastrous  eifects  in  their  oivn 
j)e/\son. 

These  answers  were  from  English  choir- 
masters, orgauists,  nnisic  teachers,   siugtn's,  etc. 


CHILD-VOICE  IN  SINGING.  Wi 

It  will  1)0  noticed  that  only  lifteen  of  those  who 
ilive  a  positive  oj)inion  u}>on  the  suhject  think 
that  boys  can  sing  through  the  })eriotl  of  break 
safely ;  while  seventy-nine  are  ])ositive  that  the 
result  is  unsafe.     The  other  replies  are  vague. 

It  must  be  remembered  that  many  of  the 
opinions  are  those  of  instructors  in  cathedral 
schools,  where  one  or  two  rehearsals  and  a  daily 
church  service  means  a  great  deal  of  singing; 
while  other  answers  come  from  choirmasters 
who  re(piire  of  their  boys  e(pially  hard  work, 
though  less  in  quantity. 

Every  individual  voice  nnist  be  judged  by  it- 
self, if  such  demands  as  choir-singing  are  made 
upon  it;  and,  while  there  are  some  cases,  as 
every  choirmaster  will  probably  agree,  where  no 
perceptible  injury  results  from  singing  during 
the  change,  the  rule  is  that  even  when  ])ossible, 
it  is  very  unsafe. 

JJut  the  daily  time  given  to  singing  in  schools 
is  very  short;  the  work  bears  no  comparison 
with  choir-siugiug.  It  might  almost  Ix- thought 
as  necessary  to  forbid  i-cadiug  and  talking  during 


118  CHILD- VOICE  J^'  SL\GI.\G. 

the  break  of  voice  as  to  forbid  its  use  in  a  dail^? 
drill  of  fifteen  or  twenty  minutes  in  singing. 

Certainly  it  is  absurd  to  advocate  entire  non- 
use  of  the  voice  at  tliis  period  in  either  speech 
or  song.  It  is  ratlier  correct  to  guard  against 
its  misuse.  If  boys  have  up  to  tliis  time  used 
only  the  thick  register,  they  will  in  singing 
through  the  break  intensify  their  bad  hal>its; 
throatiness,  harshness,  nasality  will  become 
cln'onic.  This  would  be  bad  enough,  but  each 
bad  vocal  habit  results  from  the  abnormal  use  of 
the  vocal  organs,  and  occasions  hoarseness, 
chronic  sore  throat,  catarrh,  etc. 

It  is  quite  customary  in  school  music  to  assign 
the  boys  to  the  lower  part,  in  part  music.  This 
practice  contiimed  from  the  time  part-singing 
begins  in  the  music  course,  compels  the  boys  to 
use  the  thick  register.  As  the  larynx  gains  in 
firmness  from  year  to  year,  they  experience  more 
and  more  difficulty  with  their  u})per  tones — 
those  lying  from  F  to  (\  Having  used  only  thc 
thick  voice  in  all  their  scht^ol  singing,  they  know 
of  no  other,  and  very  likely  consider  the  thin 
voice  which  they  are  now  obliged  to  use  in  sim;- 


ciiiiA)-voicb:  IN  siNuiya. 


119 


in^  tho  liiirlicr  tones  as  alfogetlier  too  girlisli  for 
the  pi'ospective  heii's  of  manly  bass  tones. 

The  rehic'tance  of  l)oys  to  siiii:;  the  sopi'ano 
would  1)0  aniusiiii;  were  it  not,  in  the  light  of 
uttei-ly  false  training,  so  pitiful. 

School  music  i^  educational  ;  its  sco]ie  is  coii- 
trollcnl  hy  those  in  charge.  The  ]>ul)lic  expects 
gfiod  educational,  i-ather  than  show  woik,  and 
employs  those  to  supei'vise  and  teach  who  are 
supj)ose(l  to  know  what  goetd  educational  woi'k  is 
in  N'ocal  music. 

The  su])po.-ition  that  children's  voices  can, 
owing  to  individual  diffciences  analogous  to 
those  existing  among  adults,  he  divided  into 
alto  and  soprano  voices,  is  erroneous;  children 
can  most  assuredly  sing  in  pai'ts,  hut  the  (juality 
of  tone  which  in  the  woman's  voice  is  called 
alto  oi'  contralto  cannot  he  secured  for  certain 
])hysical  reasons  previously  ex])lained  ;  and  the 
use  of  the  chest-tone,  which  icsemhles  the  adult 
woman's  chest-xoice  as  a  clarinet  resemhles  a 
viola,  is  wholl\-  ohject  ionahle. 

If.  ho\vc\-ei\  the  voices  ha\('  heen  ti'ained  in 
the   use    of    the    thin    reirister  onlv,   the   mana<re' 


120  CHILD-VOICE  IN  SINGING. 

iiieiit  of  the  boy's  voice  during  the  change  is 
siniplitied ;  the  influence  of  good  vocal  habits 
will  be  felt;  the  vocal  bands  which  have  never 
been  strained  will  respond  when  their  condition 
admits  of  tone-production.  The  boy  who  has 
been  accustomed  to  sing  with  an  easy  action  of 
the  vocal  ligaments  and  with  open  thi'oat  will  at 
once  become  conscious  of  any  unusual  strain  or 
wrong  adjustment  in  the  vocal  oi'gans.  If  he 
has  learned  to  sing  well,  he  has  also  learned  not 
to  sing  badly. 

The  test  to  apply  to  the  subject  of  boys'  sing- 
ing in  school  during  the  break  may  be:  Can 
they  sing  without  sti-ain  or  push  ?  Can  they 
sing  easily,  or  does  it  hurt?  There  is  a  certain 
amount  of  humi)ug  in  boys  that  must  be  allowed 
for,  but  it  does  not  affect  calculations  as  to  their 
singing-powers  more  than  upon  their  other 
abilities,  if  singing  is  well  taught. 

The  speaking-voice  also  indicates  the  state  of 
the  vocal  organs,  and  shows  the  effect  of  the 
bi'eak  sooner  than  does  the  singing- voice.  If  the 
tones  in  speech  are  steady  in  ])itch,  singing  is 
possible  in  all   probability.     If,  on   the  contrary, 


CIIILn-VOICE  IN  SINGING.  121 

the  ppeaking-voieo  is  croaky  and  wavering,  sing- 
ing is  tlifficMilt,  if  not  impossible.  As  the  object 
of  the  stiul}'  of  vocal  music  in  the  jmblic  schools, 
in  so  far  as  it  relates  to  the  treatment  of  the 
voice,  is  to  develop  good  vocal  habits,  not  bad 
ones,  it  follows  that  if  boys  sing  during  the 
break  it  must  be  only  upon  those  tones  wliich  lie 
within  their  compass  at  any  time,  and  that  the 
vocal  organs  must  be  used  lightly,  and  without 
strain. 

In  nearly  every  upper  grade  room  tliere  will 
be  a  percentage  of  boys  whose  voices  are  in 
a  transition  stage,  some  of  wliom  can  sing  and 
otiiers  of  whom  cannot.  It  recjuires  judgment 
and  tact  to  liandle  tliese  voices,  1)ut  if  boys  have 
sung  as  they  should  up  to  this  jiei'iod,  and  have 
taken  ])leasuie  in  it,  the  mutual  good  under- 
standing between  them  ami  their  teacher  need  not 
be  disturbed.     They  are  likely  to  do  their  best. 

In  this  connection  it  should  be  said,  that  ically 
it  may  be  doubted  if  the  common  })i'actice  oi 
assigning  all  boys,  whose  voices  show  signs  of 
breaking,  to  the  bass  part,  is  right. 

If  boys  have  been  kept  upon  tlu;  lower  part,  in 


122  CHILD-VOICE  IN  SINGING. 

ai]  part  singing  and  liave  never  used  other  than 
the  thick  cliest  voice,  then,  when  the  voice  hegins 
to  break  up,  it  may  be  that  tliey  nnist  sing  bass 
or  not  sing  at  all.  Boys  trained  in  this  way  have 
never  used  the  sopi-ano  head  register  and  so  if 
they  sing  alto,  it  will  be  with  the  thick  chest  voice 
of  boyhood,  which  will  now  be  the  upper  tones  of 
the  developing  man's  voice. 

Singing  alto  at  the  mutation  period  in  f/n's 
manner,  strains  the  vocal  bands  beyond  reason, 
and  should  not  under  any  circmnstances  be 
allowed.  It  nnist  be  understood  then  in  what 
follows,  that  singing  alto  in  this,  the  chest  voice, 
either  before  or  during  the  break,  is  unqualifiedly 
condemned. 

But  we  will  suppose  now  that  boys  have  been 
permitted  to  sing  only  in  the  head  register,  that 
they  have  been  assigned  to  the  ujiper  part  in  part 
sinjiriuii:,  for  notwithstanding  that  usaire  is  to  the 
contrary,  this  is  what  should  be  done.  As  has 
already  been  suggested  the  voices  of  girls  change 
less,  and  at  a  younger  age  than  do  boys,  and  tlicy 
begin  to  show  weight  of  tone  and  iiicroas(>d 
vt)lume,  at  an  age  when  boys  are  at  their  best  as 


CJIILD- VOICE  IN  SINGING.  123 

PopniiKts.  (lii-ls  at  this  period  slioiild  sing  tlie 
middle  ami  lower  parts,  hut  it  must  he  said  in 
passing  that  much  of  tlu;  nnisie  contained  in  our 
text-hooks  ranges  too  low  in  ])itch  for  them,  or 
any  voice  except  a  low  contralto  or  a  tenor.  They 
must  not  he  jx^rmitted  ♦^^o  use  their  voices  at  full 
strength,  ami  special  cai'c  sliould  he  taken  of 
those  wiio  at  this  age  sliow  hoarseness.  With 
girls  as  with  hoys,  the  change  is  accomparued 
with  ]ieriods  of  gi-eat  I'elaxation  of  the  vocal 
])ands,  and  during  these  j)eri()ds  tlie  singing  toTie 
is  either  vei'v  light,  or  very  loud. 

Returning  to  the  suhject  of  treatment  of  hoys' 
voices  (luring  inutatioii.  and  ])remising  that  they 
hav(^  sung  only  in  the  head  voice  during  chikl- 
li(.od,  the  (picstion  arises  whether  they  ai'c  not  in 
manv  cases  set  to  singing  hass  prcmatui'cly.  It  is 
ohvious  that  during  this  ]K'riod  the  voice  is 
actually  liro],'  n.  divided  in  two.  The  lower 
notes  are  produced  in  the  chest  or  man's  registei', 
wliiie  iiioi'e  or  l(!ss  of  the  hoy's  xoice  remains  as 
upper  tones.  Tlie>e  tones.  ])y  the  way,  never  are 
lo>t.  they  renuiin  as  the  falsetto  or  head  voice  of 
tiie  num. 


134  OllILD-VOIGE  IN  SINGING. 

Now  the  vibratory  action  of  the  vocal  ligaments 
is  much  larger  for  the  chest  voice  than  for  the 
head,  or  as  we  ordinarily  call  it,  the  falsetto. 
There  is  then  no  question  that  during  mutation  a 
boy  can  confine  himself  to  the  use  of  his  old 
voice,  or  so  much  of  it  as  is  available  at  any  time 
with  very  little  strain.  The  tone  will  be  light, 
in  fact,  during  the  active  periods  of  laryngeal 
growth  which  characterize  mutation,  there  will 
perhaps  be  no  voice  at  all,  owing  to  the  conges- 
tion of  the  parts,  but  in  the  periods  of  rest 
separating  the  periods  of  growth,  the  vocal  bands 
will  respond.  The  compass  of  the  head  voice  at 
this  time  varies  largely,  but  it  corresponds  pretty 
closely  to  that  of  the  second  soprano,  in  three 
part  exercises,  or  from  C  to  C.  If  it  ia  attempted 
to  carry  the  voice  down  it  changes  to  the  chest 
register  uidess  used  very  lightly. 

Without  attempting  then  to  lay  down  positive 
rules  for  treating  a  voice  which  consists  of  frag- 
ments of  voices,  the  above  suggestions  are  made 
in  the  hope  that  they  may  receive  the  considera- 
tion of  teachers  and  musicians. 


CHAPTER  VIII. 

TTIE    ALTO    VOICE    IN    MALE    CHOIRS. 

''  I  ^IIE  sngi^estions  of  the  ]")receding  chapters 
"*■  are  addressed  directly  to  those  who  teach 
vocal  music  in  j)ul)lic  or  private  schools,  but  the 
general  principles  and  rules  are  equally  applicable 
to  the  training  of  soprano  choir  boys. 

The  results  in  beauty  and  power  of  tone  which 
may  be  obtained  fi-oin  cai-efully  selected  choir 
boys  can  seldom  be  equalled  in  the  school-room, 
lii'st,  because  training  is  re(|uired  to  develop  voices 
in  sti-ength  and  |)urity  of  tone,  and  the  time 
devoted  generally  to  sciiool  singing,  one  hour  a 
week  possibly,  is  no  moi'o  than  that  given  to  a 
single  i-chearsal  of  choristei's. 

Again   school  singing   includes  all  mend)ci's  of 

the  class,  and  while   it   is  true  that  tliei'e  may  be 

but  few  pupils   in   e:wh   room   who  cannot  sing, 

yet  there  ai'c  likely  to  bt;  some. 

These   voices,    which    we    call    nujuotones   dis- 
125 


126  CHILD-VOICE  IN  SINGING. 

appear  almost  entirely  when  pupils  are  trained  to 
use  the  head  voice.  Still,  thei-e  is  a  percentage 
in  every  class  in  school,  whose  inliei'ited  musical 
perceptions  are  very  feeble,  and  their  slowness 
cannot  but  retard  the  general  progress. 

Matiy  of  the  ditlicnlties  tliat  beset  the  teacher 
of  music  in  schools,  then,  ai'e  eliminated  at  the 
stai-t  ])y  the  choir  trainer,  when  he  selects  boys 
with  good  voices,  who  sing  in  tune  natui'ally. 

The  increase  in  the  number  of  vested  (;hoii's  in 
this  country  has  been  very  rapid  during  the  ])ast 
few  years,  and  fortunately,  the  ideas  which  have 
prevailed  among  the  majority  of  choir-masters 
on  the  subject  of  the  boy  voice,  have  been  just. 
This  is  easily  understood  when  we  reflect  that  we 
have  made  the  best  English  standards  our  ideal. 

The  leaven  of  sound  doctrine  on  the  boy  voice 
is  working  rapidly,  and  there  are  many  choirs 
both  iti  our  large  and  small  cities  that  ai'c  excel- 
lent examples  of  well-trained  soprant^  ')*^y"^- 

There  is,  however,  one  problem  of  male  choir 
training  which  is  not  yet  satisfactorily  solved,  at 
least  it  is  troublesome  to  those  choii's  which  have 
a  small  or  moileratc  aj)j)ropriation  for  music. 


CIIILD-YOICE  IX  SINGING.  127 

Boy  sopninos  are  plentiful,  basses  and  tenors 
are  easily  obtained,  but  <^uod  male  altos,  men.  not 
boys,  are  almost  unknown  outside  of  a  few  laii:e 
cities.  This  state  of  aftair  has  led,  in  numy  cases, 
to  the  employment  of  boys  as  altos,  and  thev 
iuive  of  course  suiii;  with  the  tliick  or  chest  voice. 
It  is  an  unmanaiieahle  and  unmusical  voice,  it  is 
harsh,  unsympathetic,  haixl  to  keej)  in  tune,  its 
presence  in  a  choir  is  a  constant  menace  to  the 
soprano  tone,  and  were  it  not  foi-  the  idea  that 
there  is  no  recoui'se  from  this  voice,  save  in  the 
employment  of  wonum  altos,  it  would  not  be 
tolerated  by  musicians. 

Thei-e  is  ;•  recourse,  however,  and  it  is  at  the 
command  of  evcM-y  choir  trainer  whose  so|)ranos 
liave  l)een  tau^lit  to  sin<j:;  with  the  head  voice 
alone.  It  is  to  select  cei'tain  soj)ranos.  and  when 
the  voice  breaks,  let  tluMii  ])ass  tc*  tlie  alto  part, 
and  cniili/nn'  fo  i/se  f/n'  Iwiid  'Co'icc. 

Tlic  ol)j<'cti()n  wliich  will  natui'ally  occui'.  is, 
th;it  iiM  siiiL:iiin;  should  be  pei-nntted  dni-iiiu-  tlie 
bi'cak.  A\'('ll.  let  us  consider.  The  ])eri(>d  dur- 
iniT  which  the  vmIcc,  in  c(Mnni(in  paiiancc,  is 
bi'cakinir.  is  a  pei-i(Ml  nf   laryngeal  growth,  just  as 


x28  GUILD-VOICE  IX  SINGING. 

inevitable  and  natural,  as  is  the  growth  of  the 
body  generally.  The  voice  may  be  fractured, 
but  the  larynx  is  not. 

Every  choir  trainer  must  have  observed  the  pre- 
liminaries to  this  period.  A  boy  for  instance,  shows 
all  at  once  a  sudden  increase  of  volume  and  hnds 
it  ditiicult  to  sing  unless  quite  loudly  or  softly. 

This  shows  that  the  vocal  bands  are  relaxed. 
Following  this,  the  speaking  voice  will  lower  in 
pitch,  and  show  hoarseness  at  times.  As  soon 
though,  as  this  hoarseness  passes  away,  that  is, 
when  the  congestion  at  the  larynx  has  passed, 
the  voice  is  better  perhaps  than  befoi'o.  Then 
comes  anotlier  break,  as  we  sa}',  that  is,  a  period 
of  sore  throat  and  hoarseness. 

After  this  has  passed,  it  may  be  that  the  l)oy 
has  lost  his  upper  notes,  but  can  sing  the  lower 
ones  witli  ease;  the  tone  too,  is  changed  in  tim- 
bre. It  has  the  color  of  the  man's  head  voice; 
or  it  may  be  that  the  boy  can  still  sing  his  high 
notes,  but  that  the  lower  ones  are  uncertain. 
V^oice  mutation  is  not  one  continuous  ])eriod  of 
growth  of  vocal  bands  and  laryngeal  cartilages. 
On  the  contrary,  the  periods  of  vocal  disturbance 


CIIILD-VOIVE  IN  SINUlNd.  129 

are  sejiarated  by  intervals  when  tlie  throat  is 
eoni])ai'atively  free  from  irritation.  These  inter- 
vals may  he  long  or  short.  It  evidently  depends 
upon  the  raj)idity  or  slowness  of  the  general 
growtli  and  development. 

There  can  be  no  doubt  now,  that  during  a  time 
when  the  voice  is  uncertain  and  hoai'se  fix>m  the 
irritation  of  the  vocal  bands  and  snrniuiuliiig 
parts,  x\v4t  singing  is  p)()sitively  harmful,  but  dui'- 
ing  the  intervals  sej)arating  these  y)eri(>ds,  espe- 
cially where  they  extend,  as  in  many  cases,  over 
several  months,  it  would  seem  that  the  singing 
voice  might  be  used. 

Each  individual  case  must  be  observed  and 
judged  by  it.-^elf.  This  is  entirely  possible  in 
choirs.  If  then  the  choir-master  is  careful  to 
observe  and  to  humor  the  changing  voice  at  all 
ci-itical  times;  if  he  will  insist  that  the  boy  sing 
vei'v  liirhrly  or  not  at  all  if  it  hurts  him,  and  if  he 
will  i-esohit(,'ly  check  any  tendency  to  bi-eak  into 
the  tenor  or  chest  quality,  he  can  train  in  a  short 
time  a  good  alto  force  from  his  choir,  and  these 
yoiuig  men  so  trained  nuiy  become  eflicient  male 
alto  sinirers. 


130  OEILB  VOICE  IN  SINGING, 

It  is  true  that  in  many  cases  boys  may  be 
carried  through  the  mutation  period,  and  at  the 
end  show  such  light  tone  upon  tlie  falsetto  or 
head  voice  as  to  be  of  no  value.  The  strength 
and  thnbre  of  the  male  falsetto  depends  partly 
upon  the  character  of  the  vocal  bands  and  partly 
of  course  upon  the  size  and  shape  of  the  resonance 
cavities. 

Men  who  have  voices  of  wide  range  and  good 
volume  in  the  chest  or  usual  singing  voice,  gener- 
ally possess  strong  head  or  falsetto  tones,  and 
it  may  be  that  soprano  boys  who  possess  large 
voices,  that  is  those  which  show  volume  of  tone 
along  with  purity,  whose  resonance  cavities  are 
large,  will  prove  to  develop  a  better  falsetto,  as 
men,  than  those  boys  whose  voices  are  thinner. 
One  other  point  remains  to  be  disposed  of.  Will 
the  use  of  this  voice  by  youth  or  adult,  injure  his 
other  voice,  be  it  naturally  bass,  baritone,  or 
tenor?  No,  it  will  not.  and  yet  the  average 
choir-master  will  most  assuredly  be  met  with  this 
objection  or  fear.  Tt  is  surprising  that  so  many 
of  those  who  ai'c  in  the  busiuess  of  trving  to  teach 
voice,  should  be  ignorant   of    the  character  and 


CHILD-VOICE  IX  sI^'(iI^'G.  131 

range  of  tlie  nialo  falsetto  or  liead  voice,  but  in 
Sj)ite  of  tliis  ignorance,  and  nioi'e  or  less  ])ifjiKl ice 
against  its  use,  the  feai-  that  by  using  it  one  impairs 
the  tones  of  the  ciiest  register  or  the  usual  sing- 
in<;  voice,  is  utterly  inrfounded.  It  is  ])ic>(luced 
with  far  less  effort  and  tension  of  the  vocal  bands 
than  is  the  chest  voice,  and  is  physiolcgicallv  per- 
fectly safe.  The  inechanisni  which  the  lai\iix 
employs  to  produce  the  falscitto  is  ju>t  as  natural 
as  the  mechanism  emjiloyed  to  produce  the  clie.-t 
voice.  That  it  is  an  unusual  voice  with  us  is  due 
to  cii'cumstances  of  musical  development.  I'he 
advent  of  the  male  vested  choii'  has,  ]i()\vever, 
ci'catcd  a  demand  for  it,  and  it  may  be  met  as 
indicatcil.  liy  k(>e])ing  boys  upon  the  head  voice 
duiiiii:"  mutation  or  so  much  of  the  time  as  is 
safe,  and  afterwai'd,  when  the  ai^e  of  adolescence 
is  pa.-t.  even  if  some  ])refer  to  sini:  bass  oi-  tenoi\ 
the  nundx'i-  of  those  available  foi-  the  alto  j)arts 
will  be  sutEcient  to  meet  all  requirements. 


CHAPTER  IX. 


GKNERAL   REMARKS. 


TN  the  preceding  chapters,  dealing  as  they  do 
-*-  with  special  subjects  or  subdivisions  of 
the  main  topic,  the  effort  has  been  to  point  out 
and  to  suggest  some  ways  in  which  good  vocal 
habits  may  be  taught,  and  simple  and  effective 
vocal  training  carried  on  with  whatever  materials 
thei'e  may  be  at  hand  in  the  shape  of  books, 
charts,  blackboards,  staves,  etc.  The  leading 
idea  is  the  correct  use  of  the  voice ;  the  partic- 
ular st)iig  or  exercise  which  maybe  cung  is  of  no 
s]M'cial  importance  ;  the  way  in  which  it  is  sung 
is  everything. 

The  benefits  of  tcacl.iing  mi;sic  reading  iv.  the 
schools  are  a  ni<it*:er  of  daily  conuj^init.  Is  it, 
then,  likely  that  the  good  resulting  from  the 
formaticjn  of  cori'eet  ht^bitsin  the  use  of  the  voice 
will  fail  of  recognition?  Xot  so.  For  the  eil'ect 
of  good  vocal  ti-aining  in  scliool  nnisic  would  be 
132 


umLD-VOICE  IN  SINGING.  j;{3 

so  general  and  so  henefieent  that  even  unfriendly 
critics  might  be  silenced. 

The  lirst  effect  upon  singing  when  tlie  thick 
tone  is  forbidden  and  the  attempt  made  to  sub- 
stitute the  use  of  the  voice  in  the  tliin  or  head 
register  nuiy  l)e  disa})puinting.  It  will  seem  to 
take  awav  all  life  and  viij;or  from  the  siuLijinir. 
Teachers  who  enjoy  /ica/'f//  singing  will  get  nerv- 
ous; they  will  doubt  the  value  of  the  innova- 
tion. In  those  grades  where  chihh'cn  range  in 
age  from  twelve  to  fourteen  years,  the  apparent 
loss  in  vocal  power  will  disconcert  the  jMi[)ils 
even.  Never  mind  ;  the  uw  of  the  thin  register 
will  demonstrate  its  excellences,  and  it  will,  if 
slowly  vet  .--urely,  increase  in  brilliance  and  tell- 
ing ijuality  of  tone. 

Again,  the  compass  downward  needs  to  be 
m(jre  resti-icted  at  tii->t  than  after  the  children 
have  become  habituated  tt)  its  use.  As  long  as 
there  is  any  marked  tcMuU'ncy  to  break  into  the 
chest-voice  at  certain  [litches,  the  com[>ass  should 
lie  kfpt  abo\-e  them;  as  the  teii(leiic\-  weakens, 
the  \oice  may  with  due  caution  be  cMn'ied  to  the 
lower  tones,  in  higher  grades  be   it    unckTbtood. 


134  CHILD-VOICE  IN  SINGING. 

The  tone  slioiild  <yrov7  softer  as  the  voice  de- 
scends when  tlie  lower  notes  will  sound  mellow 
and  sweet.  At  tirst  they  may  be  quite  l)reathy, 
but  as  the  vocal  l)ands  become  accustomed  to  the 
new  action,  the  breathiness  will  disappear.  One 
thing  at  a  time  is  enough  to  attempt  in  music, 
and  while  a  change  in  the  use  of  tlie  voice  is 
being  sought,  it  may  happen  that  sacrifices  must 
be  made  in  other  directions;  part-singing,  until 
the  voices  become  equalized,  that  is,  of  a  similar 
tone-quality  throughout  the  entire  compass,  may, 
as  it  requires  the  singing  of  tones  so  low  as  to 
occasion  easy  recuri-ence  to  the  thick  voice,  be  so 
antagonistic  to  the  desired  end  that  it  nnist  be 
dropped  for  a  time.  After  the  use  of  the  thin 
voice  has  Ik^couic  firmly  established,  part-singing 
may  be  resnmed.  Ilow  low  in  ])itch  the  lower 
part  may  with  safety  be  carried  depends  partly 
upon  the  age  of  tlie  ])upils;  but  until  the  chest- 
voice begins  to  develop  at  ])ul)erty,  all  part-sing- 
ing nnist  be  sung  very  lightly  'ds  to  the  lower 
part  or  voice. 

Thei-e  is  a  class  of  pu})ils  always  to  be  found 
in  our   schools  who   camiot  sing  in  tune ;   they 


CHILD-VOICE  LV  SI\GI.\G.  135 

rary  in  tlie  decree  of  tlieir  iiiahility  from  those 
who  can  sing  only  in  monotone,  to  those  who  can 
sin^  in  tnno  wlien  sini;in:f  with  those  whose  sense 
of  piteli  is  good,  l)ut  aU)iie,  eaniiot.  A\'hiU'  the 
nnml)er  of  entire  or  partial  iiioiiotoiie  voices  (h;- 
creases  under  daily  drill  and  iiistnicrioii,  yet  there 
always  remains  a  tronhlesome  few,  inst'iisihle  to 
distinctions  in  pitcli ;  it  is,  in  view  of  the  ji<»si- 
ble  improvement  tluy  may  make,  a  dilHcult  mat- 
ter to  deal  with  them;  for  if  they  ai'e  forhiddtui 
to  sing,  the  chance  to  impi'ove  is  (K-nied  tlu'iii, 
and  if  the}' sing  and  constantly  di-ag  down  the 
pitch,  Mhy  the  intonation  of  those  who  wonld 
otherwise  sing  true  is  injuriously  atTecte(l. 

Many  wiio  sing  monotone  when  the  thick 
V(jice  is  used,  do  so  hecause  the  thi'oat  is  weak 
and  cannot  ea.-ily  sustain  t  le  mu>cular  strain;  if 
they  aiv  trained  to  the  use  of  the  light,  thir, 
tone,  tluy  can  >ing  in  tuiu".  A  fter  children  ha\e 
heei\  under  daily  music  drill  for  two  or  three 
years  in  .-cliool,  if  tluy  still  .-iiig  monotone,  it 
Would  seem  Iiiadvi>al)le  to  let  them  [)articipate 
with  tlie  class  in  >inging.  'riicy  do  themselves 
no  good,  and  tluy  certaitdy  injure  the  singing  of 


136  CHILD-VOICE  IN  SINGING. 

tlie  others;  for,  as  before  suggested,  constant 
falling  from  pitch  will  in  time  dull  the  musical 
perceptions  of  those  most  gifted  by  nature. 

During  the  early  years  of  school-life  the  pu- 
pils may  often  sing  out  of  tune  because  the  vocal 
bands  and  controlling  muscles  are  very  weak. 

It  is  an  excellent  idea  to  separate  the  pupils 
into  two  classes :  First,  those  who  can  sing  with 
reasonably  good  intonation ;  and  second,  those 
who  can  sing  only  a  few  tones,  or  only  one. 

Let  the  second  class  frecjuently  listen  M-liile  the 
others  sing.  Tliey  will  thus  be  taught  to  note 
both  tone  and  pitch,  and  if  any  musical  sense  is 
dormant,  this  should  arouse  it;  but,  if  after  long 
and  ])atieiit  clfort  a  ])npil  cannot  sing,  let  him 
remain  silent  during  the  singing  ])eriod. 

Every  possiljle  eifort  should  certaiidy  be  put 
forth  to  teach  children  to  sing  in  tune,  but  yet 
it  is  now,  and  will  doubtless  remain  true,  that  a 
small  per  cent,  cannot  be  so  taught. 

The  primary  causes  of  monotone  singing  may 
1)0  })hysical  or  mental;  in  many  cases,  weak 
vocal  organs  and  feublc  nervous  power,  in  others 
lack  of  pitch-perception — tonal  blindness. 


CHILD-VOICE  IN  SINGING.  131 

The  secondary  causes  include  the  influences  of 
environment  and  lieredity.  The  contempt  in 
wliich  music  has  been  lield  by  a  portion  of  the 
English-speaking  people  from  the  time  of  the 
licformation  until  (piite  recently,  or  shall  wesjiy 
until  even  now,  has  made  its  powerful  impress 
upon  o])inions,  tastes,  and  natural  powers.  ISing- 
ing,  with  a  part  of  our  population,  is  literally  a 
lost  art,  lost  through  generations  of  disuse. 

It  is  often  urged  by  educators  that  each  study 
must  he!])  other  studies.  The  various  subjects 
which  are  taught  must  move  along,  as  it  were, 
like  the  ])arts  in  a  musical  com])ositioii,  depend- 
ent U[)on,  sustaining,  and  harmonious  with  each 
other.  Xow,  while  it  is  not  within  the  scope  of 
tlii>  Work  to  discuss  the  relation  of  nmsic  to  other 
.-•tudie>  in  all  of  its  bearings,  it  is  yet  clearly  ir. 
line  with  its  general  tenor  to  suggest  that  the 
tone  in  singing  will  react  upon  the  s])eaking- 
voice,  and  vice  V'i'.sd. 

Now,  if  pupils  recite  and  speak  with  a  noisy, 
rough  tone,  it  will  not  be  easy  to  secure  sweet, 
])ure  tone  from  them  when  they  sing;  but,  oil 
the    otlier    hand,    while    iney   may    be   specially 


138  CHILD-VOICE  IN  SINGING. 

trained  in  good  singing-tone,  it  will  not,  as  a  re^ 
suit,  follow  that  the  speaking-voice  will  he  simi- 
larly modified.  Special  attention  must  he  given 
to  this  also;  hut  if  children  invariahl"  sing  with 
pure  tone,  it  must  he  very  easy  to  direct  them 
into  good  vocal  hahits  in  speaking  and  reading. 

It  is  no  more  neces.-ary  for  chihlren  to  recite 
in  that  horrihle,  rasping  tone  sometimes  heard, 
than  it  is  to  sing  with  harsh  tone;  and  if  the 
same  principles  are  applied  to  the  speaking-voice 
as  are  herein  given  for  the  management  (tf  the 
singing-voice,  in  so  far  as  they  may  he  a}>i)li- 
cahle,  this  harshness  and  coiirseness  may  he 
avoided.  It  is  the  pushed,  forced  tone  in 
speccli  or  Song  that  is  disagieeahle. 

If  teachers  will  consign  to  well-merited  ohliv- 
ion  those  two  phrases,  "speak  u])"  and  "•sing 
out,"  and  will,  instead,  secure  purity  and  easy 
production  of  tone,  with  (Jtst/tidtHNx  of  d/ih-ida- 
t'ion^  they  M'ill  do  wisely.  Let  us  not  hesitate  to 
teach  our  pupils  to  know  and  to  feel  that  which 
is  beautiful,  and  good,  and  true,  that  our  schools 
may  promote  the  growth  of  good  taste,  and  stand 
for  the  highest  morality  and  the  best  culture. 


INSTRUCTION   BOOKS 

THE  VOICE 


ASPA,  ROSARIO.  Exercises  and  Ob- 
servations, Hitendiil  to  assist  in 
the  cultivation  ut  the  voice  .      .      .     Si; 


BATES,  JAMES.  Voice  Culture  for 
Children.  A  iiractical  Privcr  en 
the  Cu'livati'iii  anil  Preservation 
i.t  \'oun^;  \'<.ues  tor  the  r.sc  (  t 
Srh..ols.  Choirs,  and  Solo  Boys. 

Parti.  Instructions  (.M. P.,  Xo.  71  ) 

pajjer  boarils 

Part  II.   Exercises  with  Pianoforte 

Accompaniment  i  M.P.,  .\o.  TIM 
Accompaniment  i  M.P..  Xo.  71  ) 

I'aper  boards 

Part     III.     Appendix.        Two-Part 

Studies,  with  Accompaniment,  n.- 

^■Iud^n^;    Srvcii    sjieeiall-v-    >-ompo>;i-,  1 
by  Or.  Hu^h  B'air  '  M.I'.,  Xo.7:;i 

The  Three  Parts  complete    . 

I..il)er  board.s 

BAVIN,  J.  T.  The  Elements  of  Sing- 
ing. A:;  Introduetion  to  \'oi(  I- and 
(  hoir  Trainir.j".  au'i  Sijjht-Sincinn 

BELLAIRS.  R.  H.  Arranred  byi. 
Singing  Exercises  for  Choir  Boys, 
combining  Melody,  Rhythm,  Ear 
Training,    and    Voice    Production. 

(U;  (■:^:d      .  ... 

BENNETT,  GEORGE  J.  The  Choir 
Boy's  Elements  of  Music.      '  M.P., 

Xo.  til  I 

paiTT  boards 

BLAIR,  HUGH.  Three-part  Studies 
for  the  use  of  Schools  and  Ladies 
Choirs.  >•  itT  ard  To:;!.-  So!-ta 
.    .::;bi:;ed'  .M.P..   Xo.  ,S  1  j      .... 


Two-part  Studies 

r:u:::rr.  \\r::    111.;. 


liates'  V. 


BORDOGNI.     Twenty-four  Vocal  Ex- 
ercises for  Mezzo-Soprano.     ICdit- 

,    ;.     ::ri\       Ma-k  ^      -  ■'      I'  \i  .r,-. -i.  .n 
a,-l    l'hr,r.in,-,   b'.    Albrrto   R,ind,r- 


— ■ — Book  I.   Elementary  Exercises   for 
Soprano  or  Tenor. 
2.  Elementary   Exercises   for 

Alto 
i.  Elementary   Exercises   for 
Bass  or  Baritone. 

4.  Advanced     Exercises     for 

Soprano  or  Tenor. 

5.  Advanced     Exercises     for 

Alto 

6.  Advanced     Exercises     for 

Bass  or  Baritone. 

CARTER,  W.  Vocal  and  Theoretical 
Exercises,  for  the  use  of  Singing 
Classes        

COLLETT,  C.  D.  Elementary  Vocal 
Exercises,  r,tiinted  chiell\-  fr  -:;) 
Winter ■.       ,      . 

CONCONE'S  LESSONS.  X,  .v  Edi- 
tion, with  M.irks  of  ICxpression 
and    r'hrasiii).;   by   .Vlbertci    Ran dri'- 

50  Lessons   for   the    Medium   Part 

of  the  Voice  Uloth.  cdt.  >•  I  .'.n : 
25  Lessons.  .A  St-qiK-:  to  -.i;,-  .-ihovr 
IS  Vocalises.     .A      Se.nu'.     to     ::•;,_■ 

15  Vocalises      for      Contralto      or 

Mezzo- Soprano 
40  Lessons  for  Contralto 
40  Lessons  for  Bass  or  Baritone 

COWARD,  HENRY.  Choral  Tech- 
nique and  Interpretation.     1  .\    .Xt- 

Hook)        . :,  ■■;, 

CURRY,  T.  I  ,,■  Little  Choir  Book, 
The  I 

CURWEN,  JOHN.     Tonic  Sol-fa.       M. 

1'..  Xo.   !,si        .... 


DAMROSCH,  FRANK.  Vocal  E.vcr- 
cises  ,(-.  \l  ,rd  b\-  Tr.r  !'.■  :  ' •  •^' 
Ch.ViC   L"::io:.,   \.   V. 

Drill  Chart  for  the  Study  of  In- 
tervals in  Sight  Singing 

E.xercises.     Set    1 

"      2        . 
■'     3       . 


BRIDGE.  J.  F.      Musical  Gestures.     .\ 

kV'diini't.VoV'M^:  .u"  M.l'.'  X    ■   i:; 


ELLIS,    A.    J.      Speech    in    Souk. 


Rudiments    in    Rhyme. 


GADSBY,      HENRY. 

Book    of    Kxercis 


Su[ipleinent.il 


BROEKHOVEN,    J.    VAN       The    T 
Method  of  Tone  Production.    '   : 

Supplementary     Exercises    in 

sei)arate  books  .   :<■■:■  H 


Six 


GARCIA,    G.      Guide    to    Solo    SinRiiut 


GILBERT,    ALFRED.      A  Sini;in^:  Book, 
fur  Public  School  and   Choir  Bovs.. 


GREENWOOD,  JAMES.  The  Sol-fa 
System    of    Teaching    Singing,    as 

useii  in  Lancashire  and   Vorkshire. 
(M.P..  Xo.  19) 

paper  boards 

Three    Hundred    and     Ninety-Six 

Two-Part  Exercises  for  Choirs  and 
Schools.      Mav   be   used   with  any 
system  of  Sol-fa.     (M.P.,  Xo.  23) 
paper  boards 

HALL,  WALTER  HENRY.  The  Es- 
sentials of  Choir  Boy  Training.   {A 

Net  Book,) cinth 

HAM,  ALBERT.  A  Manual  on  the 
Boy  s  Voice 

HENSCHEL,  G.  Progressive  Studies 
for  the  Voice,  with  Pianoforte 
Accompaniment.  In  Tuo  Parts. 
Part  I.,  Studies  in  Sustained  Sing- 
ing. Part  IL,  Studies  in  Florid 
Smt^ing: 

Part    I.   (,HiKh  Voice) 

(.Medium  X'oice) 
( Lou  Voice)    .... 
Part  II.  (High  Voice)  .... 
(Medium  Voice) 
(Low  \'oice)    .... 

HIGGS,  JAMES.  A  Collection  of  Two- 
part  Sol-feggi  in  the  iinncipal  ma- 
jor keys,  dcsij/ned  for  t)ie  practice 
of  choristers  and  vocal  classes 
j^enerally.  Selected  from  Durante, 
ilandcl,  Leo,  Scarlatti.  StelTani, 
Xares,\Vebbe,etc.  (  M.]'.,  Xo..",!) 

HOWARD,  F.  E.  Child  Voice  in  Sing- 
ing, The.  Treated  from  a  physio- 
lot;ical  and  a  practical  standji'iint 
and  esr)eciallv  adaj)teil  to  S.hools 
and  Boy  Choirs.     (.V  Xet  B..ok) 

cl-th 

Handbook  on  the  Training  of  the 

Child    Voice   in    Singing,      i  A     \i  t 

li..jk) ilc.h 

HUGHES,  MARGARET  A.  Physical 
Exercises    in    the    Infant    School. 

n-:..M.,  Xo.  11) 

HULBERT,  H.  H.  Breathing  for  Voice 
Production ti  ,th 

HUNT,  Mrs.  BLAINE.  Observations 
on  the  Vocal  Shake,  with  c.xanijiks 
and  exercises 

JACKSON,  W.  The  Singing  Class 
Manual 

LANE,  GEORGE.  An  Elementary 
Mixed-Voice  Sight  Singing  Course. 

Stall    Xotation   thrwu(;li   'IVniic  Sol- 
fa.      (E..M.,  Xos.  :i  and  -t)    In  Tv  .. 

Parts ca<  h 

The  exercises  are  written  in  lie 
treble  ;ind  ba-^s  clrfs.  in  order  that 
the  book  may  be  used  by  male  and 
female  voices  m  one  class.  .Suit- 
able    for     Evening'      Continuation 

Schools. 

LARCOM,  AGNES.     The  Singer's  Art. 

I'nr-u-r  Xn.  92)     .        . 

bo.-irds 

LITTLE  CHOIR  BOOK,  THE.  f  on,- 
pilc'i  by  Thomas  (  urry,  with  Kx- 
ercises  by  J.  Stainur 


1.00 
2.00 


1.00 
2.00 


1.00 
1.00 


2..')0 
2.50 
2..J0 
2..')0 
2..")0 
2.,)0 


2.0(1 
2.0U 


McNAUGHT,  W.  G.  Graduated  Exer- 
cises for  School  Classes  (movable 
Doh),  containing  267  E.xercises 

Intended  for  use  in  connection 
with  songs,  etc.,  carefully  selected 
to  suit  the  capacity  and  particular 
circumstances  of  a  class.  The\'  pro- 
vi<ic  quite  as  much  as  most  school 
classes  can  find  time  to  study. 

Hints  on  Choir  Training  for  Com- 
petition        

School       Sight-Singing       Reader. 

The<jretical  as  well  as  practical. 
They  prcjvide  carefully  graded  ex- 
ercises and  numerous  songs  (mov- 
able Doh).  Bound  in  limp  cloth. 
Or  in  the  following  editions: — 

Elementary  C.rade         .... 

Intermediary  Crade      .... 


.30 


Sight-Singing.     Xotation 

ab!.>  Doh),  3  Books     .       . 


(mov- 
each 


Two-Part  Studies.     Set  1 . 

Thi-se  forty-seven  Studies  are 
intended  to  supplement  a  regular 
course.  Many  of  them  are  tests 
that  have  been  used  at  sight-sing- 
ing com])etitions 

Vocal  Exercises  for  Choirs. 

S..\.T.B. 

MANN,  RICHARD.  A  Manual  of  Sing- 
ing, tor  thr  use  of  t'hoir  Trainers 
and  Schoolmasters.  Xew  Edition, 
with  additions  b\-  J.  Staincr        .      . 

MARSHALL,  FLORENCE  A.  Five 
Minutes'  Exercises,  in  Two  Parts, 

for  the  use  of    Singing    Classes  in 

Schools _     ._    . 

Interval       Exercises       for       Singing 

Classes,  to  which  arc  adderl  a  few 

i,vo-;iart  Time  Exercises. 
Seventy   Solfeggi  for  Class   Singing. 

I  Xovello's  Music  Prin^rs.  X-.  20) 
paper  boar<!s 

Or,  in  Three  Parts,  each,  pajier 

MARTIN,  G.  C.     The  Art  of  Training 

Choir  Boys.      '  .M.P.,  Xo.  :i'.i)      .      . 

paper  boards 

Ditto.     The  Exercises  only  for  the 

use  of  Boys.     (  M.P.,  Xo.  .3<ia ) 

paper  b.,ards 

MILLER,  C.  W.  I  Edited  by).  The  Office 
of  "  Tenebrae  "  .and  directions  for 
singing  "The  Passion,"  for  use  in 
the  Episcopal  Church       .... 

MOONIE,  J.  A.     First  Steps  in  Sight 

Singing.  .\  primer  for  classes  be- 
cmning  tile  Sludv  of  Voca]  .Music. 
Part  1 

Precept    and    Practice    for    Singing- 
Class  Students 


NEWTON,  ERNEST.  The  Choirboy's 
Guide    to    the    Cathedral    Psalter. 

I  M.P.,  Xo.  7-1) 

NICHOLLS,     MARGARET.  School 

Choir  Training  '  I-;.. M..  Xo.  <i.) 

NOVELLO,  J.  A.  Analysis  of  Vocal 
Rudiments  by  Question  and  An- 
swer        


.12 


1.00 


.30 
.30 


1.00 


.30 

4.00 

.').00 

1..50 

.'i.OO 

4.00 

1.00 

2.00 

.'■if) 

L.'iO 


..">0 
2.00 


30 


NOVELLO,    SABILLA.     Exercises    for 

a  Contralto  Voice I ■•"'<' 

Vocal  School 3.ii() 

Or,  in  6  Numbers,  each  .'M 

Sabbatini.     SimhicI    to    the    above. 

V.n.-;i!   ICxiTciscs  for  tun   voux--;,  in 

thi- form  ol  Curious  and  Roumls  .'i.dO 

Or,  in  6  Numbers,  each         ..'iO 

PALMER,  E.  D.  Exercises  for  the 
Tenor  Voice,  wuh  iiifoductorv-  re- 
marks on  Its  training;  and  dcvcloii- 
niont.      ^M.I^.  No.  SO)     ....         1.00 

PANSERON,  A.  Forty  Melodic  and 
Progressive  Exercises  for  Soprano 
or  Tenor.  IMitcd,  with  Marks  of 
ICxprcssion  and  PhrasinK.  l.y  A\- 
lurto  Randfijwcr.      In  Two  Parts. 

Part    I.,  c.ntaininK  Xos.    1   to  26       2.00 
"    II.,  ■■  ■■    27  to  10       2.00 

Forty-two  Melodic  and  Progres- 
sive Vocal  Exercises.  For  (on- 
iralt".  HantMiir,  ur  Bass.  F.ihtrd. 
with  Marks  of  Expression  and 
Phrasinj.;.  Iiv  .AlScrto  Rand(.'^j,'cr. 
In  Two  Parts. 

Part  I.,  r.iiitainiiu;  N'os.     1  lo  20        2.00 
'•    II.,  "  "       :iO  to  42        2.00 

Fifty  Vocalises.     For  Two  \'oiccs. 

S'ljirano  ai'.d  Mc/,zo-So|irano  or 
Tcri'ir  and  SMpr.anM,  or  Trnor  and 
Parifinr.  ICdited.  with  Marks  of 
Kxprrssion  ;i?id  Phrasing.  I'V  A!- 
licrto  R,indi>:i'.-r.      In  Two  Parts. 

Part    I.,r.,niaininK  Xos.     1  to  I^O        2.00 
"     11.,  '■  "      31  to  oO        2.00 

PENNA,     F.     Vocal  Exercises  .     .        2.00 

PITCHER,  R.  J.  Recitative  and  its 
Rendering.  Flu  .ir.itcd  with  nn- 
nirrou  .  cxaiupK'i  I  .OU 

RANDEGGER,     ALBERTO.      Singing. 

I  .M.P.,   .No.  ."o  1,00 


REEVES,  HERBERT  SIMS.  Hints  on 
Singing 

RENDALL,  EDWARD  DAVEY.  The 
Ek-nieiitary  Principles  of  Music 
for  Public  Schools.  .A  iii.mu.il  to 
l.r  fTnpicN-i-d  m  choirs  and  sin.);ini; 
<-lassrs,  ','.  ith  .•ipiHT.-!u-i-s  contain- 
in::  i::i:sic  fiir  [iractical  use     . 

paper  hoards 

ROBERTS,  J.  VARLEY.  A  Treatise 
on  a  Practical  Method  of  Training 
Choristers 


SIMPSON,  J.  H.  First  Steps  for  Choir 
Boys  . 

SMITH,  J.  SUTCLIFFE.  Singing  from 
the  Staff.      Sta^c   1 

STAINER,  J.  Choral  Society  Vocalisa- 
tion. Instructions  .and  ICxer.  iscs  m 
\''.icc  Tr.ainmt;,  to  l,i-  use  i  .it  '.rdi- 
nary  rehearsals.   (,.\1.P..  Ni..  .">0l. 

paper  l.oards 

Or,  in  Four  Parts,  ;)aper  covers,  e.ich 

The  Exercises  in  the  "Choral  So- 
ciety      Vocalisation  "         Primer. 

.\dai.ted  ,ind  .irr:uu:ed  f'>r  the  use 
of  Chwirs  and  Classes. •!  I-'.-inalo 
V.aces    l.v    .\rthur    W     .Marchant. 

(.M.P.,  No.  .-,lia) 

paper  boards 

STAINER,  ].,  and  THOMAS  CURRY. 
The  Little  Choir  Book.  Rudini<nts 
for  Choir  Hwys  i  Net  ) 

STOCKHAUSEN,     JULIUS.     Method 

of  Singing.  Translated  int.'  Ivi-.k- 
hsh  hv  Snphie  Lowe.      (.M.l'.,   N.,. 

()7)   .       .  

pajier  boards 

STUBBS,  G.  EDWARD.  How  to  Sing 
the  Choral  Service.  .\  .Manual  ■  f 
lnt"iniij;  for  I '!er>,'\Tnen  (..\  Net 
Ho.,k)  cF.th 

Practical  Hints  on  the  Training  of 

Choir  Boys  i.\   Net  Hook)      ,    cl-th 

The  Adult  Male  Alto    or  Counter 

Tenor  Voice.     (.\  N\t  B">k,    cl    t h 

TAYLOR,  DAVID  C.  New  Light  on 
the  Old  Italian   Method.     i.\    Nit 

Bo<,kl  .  ,  .        Cl:,th 

Self    Help    for    Singers.      I  .\     Net 

Book)  .  lL.;!; 

VERNHAM,  J.E.  Seventy  Three-Part 
Studies  •.'.  itlun  th<'  cunpass  *  .i:-. 
Octave.  I'-r  Sii;ht -SiiiK.nu;  C'.asse-. 
(M.P..  N...   l<n 

l>ai)cr  li..,ir  is 

VINNING,  C.  S.  Singing  Card  for 
Choir  Boys 

No.  1  .  . 

N...  2 

WEBER,  F.  Melody  and  Harmony  in 
Speech  .ic  I   How  to  learn  to  think 

in  music.  \'.'ici'  tr.unru:  i--r  spe.ik- 
in>;  .11:  i  sii:>;in):  '.'V    .elf-hi  lo 

WINTER.  Elementary  Vocal  E.xer- 
cises 

WITT,  MARIA.     The  Singers  Guide 


The  H.  W.  Gray  Go. 

15')   Fast  4Sth   St.,    New   York 
Sole  Agents  fur  NOVHLLO   iV    CO  ,    Ltd. 


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